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Digitized  by  the  Internet  Archive 

in  2011  with  funding  from 

Boston  Public  Library 


http://www.archive.org/details/philadelphiaphot1885phil 


22d  YEAR. 


J"A.:ivrTJ-£Lr*_Y,  1885. 


Number  253. 


50  Cents. 


THE 


7 


PHILADELPHIA 


Mwaife 


AN  ILLUSTRATED  MONTHLY  JOURNAL, 


DEVOTED  TO  PHOTOGRAPHY. 


EDITED  BY  EDWARD  L.  WILSON. 


PHILADELPHIA:  EDWARD  L.  WILSON, 

PUBLISHER  AND  PROPRIETOR, 

No.  1 1 25  Chestnut  Street. 

SUBSCRIPTIONS  RECEIVED  BY  ALL  NEWS  AND  STOCZDEALEKS. 
Five  Dollars  per  Annum,  in  Advance. 


Entered  at  the  Post-Office  at  Philadelphia  as  second-class  matter. 


WILSON'S  PHOTOGRAPHIOS,  Fourth  Thousand,  $4.00.  VkpelsTndtid 


SUMMARY    OF    CONTENTS. 


PAGE 

A  Happy  New  Year 1 

A  Convenient  Dark-room.  By  Dr.  H.  M.  Howe,  1 
The   Platinotype,   from    an   Artist's    Point   of 

View.     By  Xanthus  Smith, 2 

Sal-ammoniac  as  a  Fixing  Agent   for  Silver 

Pictures.     By  E.  Liesegang, 3 

Dots  of  the  Day, •     .     •  3 

Measurement   of   the  Speed  of    Photographic 

Drop-shutters.     By  W.  H.  Pickering,  .     .  4 

Improved  Developer  for  Gelatine  Plates,  .  .  4 
Dark-room  Ventilation  and  other  Hints.     By 

D.  L.  Cormany,      .     .     • 6 

Our  Picture, 6 

Concerning   the  Old   Silver  Bath.     By  F.  M. 

Spencer 9 

German  Correspondence.     By  H.  W.  Vogel,    .  10 

Mosaics  from  Mosaics 12 

Embellishment. — Studies.     H.  P. 


Study  Your  Patrons  Before  Sitting  Them.     By 

L.  M.  Rice, 15 

Society  Gossip, 16 

Photography  at  the  New  Orleans  Exposition,  .     19 
How  I   Keep   My  Price  Up.     By   0.  Pierre 

Havens, •     ....     21 

The    Conversion  of  the  Silver   Image  on  the 

Negative.     By  L.  Belitski, 22 

Exhibition  of  the  Boston  Society  of  Amateur 
Photographers.  By  Our  Special  Corres- 
pondent,     23 

About  Portraits, 25 

On  the  Reduction  of  Over-strong  Negatives  or 

Prints 28 

Thin  Negatives.     By  L.  Regnault,    ....     28 

Gleanings, 28 

Editor's  Table, 31 

Robinson,  Tunbridge  Wells,  England. 


ADVERTISEMENTS. 


AIR  BRUSH  MANUFACTURING  CO. 

ANTHONY  &  CO.,  E.  &  H.  T.  Eastman's  Gelatino- 
bromide  (special)  Dry  Plates. 

BACHRACH  &  BRO.     Celloidine. 

BIGELOW'S  ARTISTIC  PHOTOGRAPHY. 

CARBUTT,  J.  Gelatine  Dry  Plates  and  Improved 
Dry  Plate  Lantern. 

BUCHANAN,  SMEDLEY  &  BROMLEY.  Photo- 
graphic Supplies. 

COLLINS,  SON  &  CO.,  A.  M.     Photograph  Cards. 

COOPER,  CHAS.  &  CO.     Union  Negative  Cotton. 

CRAMER,  G.      Extra-Rapid  Dry  Plates. 

CROSSCUP  &  WEST.     Engravers. 

DEALERS'  DIRECTORY. 

DRESCHER  &  CO.'S  IMPROVED  GELATINE 
FOR  EMULSION. 

ENGRAVING  DIAMOND. 

FRENCH  &  CO.,  BENJ.  Voigtlander  &  Son  and 
Darlot  Lenses.     The  Wonderful  Euryscope. 

GENNERT,  G.     Albumen  Paper. 

HANCE'S  SPECIALTIES. 

HARDWICH'S  PHOTOGRAPHIC  CHEMISTRY. 

HEARN  GELATINE  DRY  PLATES. 

HEARN'S  ARTISTIC  PRINTING. 

HOWSON'S  PATENT  OFFICES. 

HYATT,  H.  A.     New  Brand  of  Dry  Plates. 

INGLIS,  JAMES.     "Insoluble"  Dry  Plates. 

MAGEE  &  CO.,  JAS.  F.    Photographic  Chemicals. 

MOORE,  ALBERT.     Solar  Enlarger. 

MOSAICS,  1384. 


OPTICAL  LANTERNS  AND  SLIDES. 

PASSAV ANT'S  DRY  PLATES. 

PEERLESS  ALBUMEN  PAPER. 

PHOTOGRAPHIC  COLORISTS'  GUIDE. 

PHOTOGRAPHIC  PROGRESS  SINCE  1878. 

PHOTOGRAPHIC  PUBLICATIONS. 

PHOTOGfRAPHISCHE  MITTHEILUNGEN. 

PHOTO.  PLAQUES.     Lockport,  N.  Y. 

PICTORIAL  EFFECT  IN  PHOTOGRAPHY. 

ROBINSON'S  NEW  MODEL  PHOTO.  TRIMMER. 

SCOFIELD'S  UNIQUE  CAMERA. 

SCOVILL  MANUFACTURING  CO.  New  Dres- 
den Albumen  Three  Crown  Paper.  Negative 
Washing  Boxes. 

SOMERVILLE,  J.  C.     Outfits  a  Specialty. 

TABER  &   RUTHNICK.     Dry  Plates. 

THE   ART  UNION. 

THE  BLAIR  TOUROGRAPH  AND  DRY  PLATE 
CO. 

THE  HUB  DRY  PLATE  CO. 

THE  M.  A.  SEED  DRY  PLATE  CO. 

TONNDORFF,  C.  H.     Stamp  Portraits. 

UNDERWOOD  MFG.  CO.     Mailing  Box. 

WAYMOUTH'S  VIGNETTE  PAPERS. 

WILKINSON  &  CO.     Artists  and  Opticians. 

WILSON,  HOOD  &  CO.  Ross  and  Steinheil  Lenses, 
Photo.  Frames,  Goods,  Stereoscopes,  and  Views. 

WILSON'S  PHOTOGRAPHICS. 

WILSON'S  LANTERN  JOURNEYS. 

WILSON'S  VIEWS  OF  THE  ORIENT. 


119  South  Fourth  St. 
PHILADELPHIA, 

Branch  Office, 
60S  Seventh  Street, 

WASHINGTON,  D.  C. 


H.  HOWSON, 

Engineer  and  Solicitor  of  Patents. 

C.  HOWSOSf, 

Attorney  at  Law,  and  Counsel  in 
Patent  Oases. 


THE   PHILADELPHIA  PHOTOGEAPHEE.  i 

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'sivimowIlLS&j.  show  jis^e  v 


mi  mas  m  jo  mini  am 


JUST  THREE  YEAES  AGO  I  ISSUED  THE  FOLLOWING 


Since  then  nearly  four  thousand  copies  have  been  sold,  and  it  still  sells  at  the  rate  of 
four  or  five  each  day.  Sent  prepaid,  by  post,  for  $4.00,  by  all  stock  and  newsdealers,  or 
EDWAED  L.  WILSON,  Author  and  Publisher,  1125  Chestnut  Street,  Philadelphia. 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


111 


KEEVIL'S   PATENT 

NEWTONIAN   DUPLEX  LANTERN. 

This  new  lantern  is  duplex  in  form,  being  fitted  with  one  optical  system,  projecting  in  front,  and 
another  projecting  from  one  side.  The  light  through  the  first  system  is  transmitted  on  to  the  screen 
directly,  in  the  usual  way.  At  the  extremity  of  the  other  system,  is  fixed  a  prismatic  lens^by  which 
-neans  a  disk  can  be  projected  on  to  the  screen  central  with  the  other.  The  oxyhydrogen  jet  is  ar- 
ranged on  a  pivot,  which  is  a  fixture  in  the  bottom  of  the  lantern,  the  centre  of  rotation  being  as 
near  the  outside  surface  of  the  lime  cylinder  as  possible;  and  by  rotating  the  burner  through  about  a 
quarter  of  a  circle,  the  light  is  brought  central  with  each  condenser  alternately,  and  simultaneously 
the  mechanical  dissolver  opens  and  closes  the  objectives. 

A  Complete  Lime-Light  Dissolving  Apparatus,  most  Compact 

in  Form,  at  the  Low  Price  of  $100.00;  with  Full 

Oxyhydrogen  Accoutrements,  $130.00. 


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To  compensate  for  any  loss  of  light  occasioned  by  the  use  of  the  prism,  the  condenser  of  this  system 
is  made  somewhat  shorter  in  focus  than  the  other  one,  evenness  of  illumination  being  thereby  secured. 
Both  objectives  are  made  achromatic,  and  the  definition  of  the  one  to  which  the  prism  is  attached  is 
in  no  way  inferior  to  the  ordinary  one.  The  jets  never  require  adjustment,  as  every  lantern  is  put  to 
a  practical  test  before  being  sent  out;  the  best  position  for  the  jet  being  thereby  obtained,  further  ad- 
justment becomes  unnecessary,  The  dissolving  apparatus  is  adjustable  and  very  efficient.  The  conical 
fronts  are  easily  detached,  and  if  required  it  can  be  used  as  a  single  lantern.  The  whole  lantern  is  of 
metal.  Its  small  dimension  are  much  in  its  favor,  the  whole  packing  into  a  small  box,  easily  carried 
in  the  hand.  These  desiderata  are  certain  to  make  it  a  favorite  with  those  who  wish  for  an  apparatus 
of  extreme  portability.     See  further  in  our  new  catalogue. 

We  have  arranged  for  the  sole  agency  of  the  United  States,  and  have  a  stock  on  hand  and  for  sale. 
Wa  have  thoroughly  tried  the  new  lantern,  and  are  charmed  with  it  in  every  way.  It  is  lighted  in  a 
minute,  easily  adjusted,  and  gives  entire  satisfaction. 

SEVERAL  RECENT  IMPROVEMENTS. 
SECURED  BY  LETTERS-PATENT  IN  ENGLAND  AND  THE  UNITED  STATES. 

It  is  made  to  sit  on  any  table  or  stand,  and  full  directions  for  working  accompany  it.  Send  for  estimate  for  a  full 
outfit,  bags,  tubing,  generator,  &fic.  <5r>c.     Lists  of  our  new  dissolving  views  will  be  given  on  application. 


EDWARD   L.  WILSON, 


Solo  Agent  for  the  United  States. 


1125  Chestnut  St.,  Philadelphia 


IV 


THE  PHILADELPHIA  PHOTOGEAPHEE. 


WILSON'S  LANTERN  JOURNEYS 

These  descriptions  should  be  in  the  hands  of  every  Lantern  Exhibitor  and  Lecturer.  They 
help  you  choose  slides.  They  tell  you  what  facts  and  figures  the  public  want  to  know  about  the 
places  and  things  you  exhibit.  The  contents  are  divided  into  JOURNEYS  or  selections  as  per 
list  below : 


DESCRIBES 

SLIDES 

ALL  OVER 

THE  WORLD. 


3  VOLUMES. 


VOLUME  I.  306  PAGES, 

Contains  IfllfE  Journeys: 

A — France  and  Switzerland. 

B — Belgium,      Germany,     Austria, 

Saxony,  and  Bavaria. 
O— Italy — Lakes,    Cities,    and    the 

Italian  Art  Galleries. 
D — Holland,      Denmark,     Norway, 

Sweden,  Russia,  and  Spain. 
E— Egypt,  Palestine,  Syria,  Turkey, 

Greece,  and  India. 
P — England,  Scotland,  and  United 

States  of  America. 
G — Centennial  Exhibition,  Philada. 
H — Centennial  Exhibition,  Philada. 
I— The  Paris  Exposition,  1878. 

IN  ALL,  O  VEB  900  S  UBJECTS. 

PRICE  $2,  POST-PAID. 


DESCRIBES 

SLIDES 

ALL  OVER 

THE  WORLD 


3  VOLUMES. 


VOLUME  H.  331  PAGES, 

Contains  TWELVE  Journeys: 

J — Germany  and  Russia. 

K — Belgium  and  Austria. 

L — France — Cities  and  Provinces. 

M— Spain  and  Portugal. 

N— Switzerland—  The    Four  Alpine 

Routes. 
O— Italy,  Ischia,  and  Sicily. 
P— Turkey,  Greece,  and  Egypt. 
Q— Palestine  and  India. 
R — Scotland — Cities  and  Ruins. 
S — Ireland. 
T — England— Cities,  Museums,  and 

Ruins. 
U— United  States  of  America. 

TN  ALL,   1073  SUBJECTS. 

PRICE  $2,  POST-PAID. 


J8@-V0LUME  III— ON  THE  ORIENT— NOW  READY.-^g 
PRICE  $2,  POST-PAID. 

Gives  descriptions  or  all  the  slides  made  by  Mr.  Edward  L..  Wilson  of  b-ts  personally 

taken  views  of  The  Sinai  Peninsula;   The  Desert  of  the  Exodus;  The 

Route  of  the  Israelites  to  the  Promised  Land;  and 

THE  TAKING  OP  PETRA. 


NEW    LECTURES    IN    PRESS. 


For  Sale 
by  All  Dealers. 


EDWARD  L.  WILSON,  Photo.  Publisher,  Philadelphia,  Pa. 


SEND  FIFTEEN  CENTS  FOR  NEW  CATALOGUE, 


THE  PHILADELPHIA  PHOTOGEAPHEE.       v 

CRAMER'S  LIGHTNING  PLATES. 


(•T^ °4"' *~^d sR>- 2^* °^° ^c) 


TO  MEET  THE  DEMAND  FOR 

An  Extremely  Rapid  Plate 

I  am  now  making  the  above  new  brand  (blue  label),  which  is  about  twice  as  rapid 
as  my  "Extra  Eapid"  and  nearly 

TWENTY  TIMES  MORE  RAPID  THAN  COLLODION. 


THIS  NEW  PLATE  C03IBINES 

EXTREME  RAPIDITY, 

FINE  CHEMICAL  EFFECT, 

PERFECT  CLEARNESS, 

GOOD  INTENSITY, 

EASY  TO  DEVELOP, 

And    CANNOT    BE    EXCELLED. 


For  all  cases  where  Extraordinary  Eapidity  is  desirable  and  for  Large 
Work  these  "Lightning  Plates"  will,  upon  trial,  prove  their  superiority  over 
all  others. 

My  regular  brand,  the  "Extra  Eapid"  (yellow  label),  which  is  so  well 
known  and  sufficiently  sensitive  for  general  use,  will  be  kept  up  to  its  usual  high 
standard. 

BOTH  BRANDS  SAME  PRICE. 

WILL  BE  FOR  SALE  BY  ALL  DEALERS. 


DRY-PLATEiWORKS,  ST.  LOUIS,  MO. 


vi  THE   PHILADELPHIA  PHOTOGEAPHEE. 


The  Following  is  of  Interest  to  Every  Photographer. 


THE  NEW  N.  P.  A. 


PENSE. 


We  desire  to  call  attention  to  our  NEW  PENSE  N.  P.  A.  Extra  Brilliant 
Dresden  Albumen  Paper. 

The  manufacturers  at  Rives  have  recently  many  marked  improvement  in  their 
celebrated  paper,  and  all  the  sheets  of  this  brand  are  manufactured  specially  for 
it,  and  are  readily  distinguished  from  all  other  papers  by  the  water-mark  N.  P.  A. 

It  is  doubly  albumenized  by  the  most  experienced  house  in  Germany,  with 
new  and  improved  formulas,  and  we  are  confident  that  on  trial  it  will  be  found 
superior  to  any  other  in  market. 

Its  excellence  has  induced  some  unscrupulous  persons  to  place  the 
STAMP  on  the  Paper  of  other  makers,  in  order  to  work  it  off,  trusting  that 
photographers  will  not  look  through  to  see  if  the  water-mark  is  there.  To 
prevent  this  we  have  registered  JiST'Tliis  Trade  Mark°@g  in  Washington,  which  will 
subject  to  heavy  damages  all  <<^^-'  ^^/^  those  who  stamp  this  brand 
on  paper  which  does  not  bear  ^  N.P.A.  **  the  water-mark  N.  P.  A. 
This  Paper  can  be  had  also  in        DRESDEN.        PINK,  PEARL  or  WHITE- 

FOR  SALE  BY  ALL  DEALERS  IN  PHOTO.  GOODS  IN  U.  S.  AND  CANADA. 


E.  &  H.  T.  ANTHONY  &  CO., 

591  Broadway,  NEW  YORK. 

N.  B. — When  any  paper  is  offered  to  you  at  a  low  price,  Measure  it. 

Also  note  whether  it  runs  "Uniform,  for  some  albumenizers  mix  the  first  and 
second  qualities,  not  discarding  that  which  has  defects,  and  thus  get  their  paper 
cheaper. 


-THE- 


HELIOTYPE  PRINTING  COMPANY 

Desire  to  draw  the  attention  of  Photographers  and  Printers  to  their  unequalled 
facilities  for  the  production  of  all  classes  of  photo-mechanical  printing  or  print- 
ing plates.  They  have  recently  introduced  improvements  by  which  they  are 
able  to  produce  better  work  at  lower  prices,  WITH  A  LIBERAL  DISCOUNT  TO 
PHOTOGRAPHERS  AND  PRINTERS.  They  especially  draw  attention  to  their  new 
P'lX0l0*C&ttStXC  methods  by  which  the  photographic  effect  is  produced 
either  on  lithographic  stones  or  in  the  shape  of  cuts  to  print  with  type. 

Samples  and  prices  of  any  desired  class  of  work  forwarded  on  application, 

Specimen  books  on  receipt  of  25  cents. 


Our  processes  are  divided   into 

gtoitf^ipeclxaiiiail  g^cmtittg.    (pure  heliotype   and 

AUTOGLYPH.)  — For    the    reproduction,     in     printer's   ink,  on    the  printing  press, 
of  Portraits  and  Views  from   Nature,   and  all  descriptions  of    PHOTOGRAPHIC  work. 

<g\XOtO^%lt\XOQX^pUX}.—  For  the  reproduction  of  Artists',  Architects', 
Engineers',  Surveyors',  and   other  Drawings,  and  other  originals  in   black  and,  white. 

gfotfttf  %XXQK&m\lQ  and  MUt  %tcMtiQ For  the    production 

of  Cuts  to  print  with  type,   from  originals  in   black  and  white. 

^hOtO*(&?CXXStXt  ^XXXltXUQ.—  For  the  lithographic  reproduction  of 
photographic  subjects,  without  redrawing, 

|^fo0tcMftaXtStiC  gttgVaXrtlXg.— For  the  production  of  Cuts  to 
print  with  type,  from  photographs,  brush  drawings,  and  all  subjects  in  half  tone 
or  shading,  without  redrawing  in   line. 

%miBQXKplXXX.  lof  allclsses 

(&Ux0ma*%xt\x0Qxnp1ixyi. }     a  casses 

IpittCCt  QXKVL&ftX.—  A  patented  process  for  the  speedy  reproduction 
(from  originals  made  with  ordinary  ink  on  ordinary  paper)  of  autograph  letters, 
sketches,  caricatures,  etc.,   either  as  cuts  or  lithographs. 

^tSXQXlXVLQ.— Artistic  designing  of  all   kinds. 


Employed  by  the  United  States  Government  in  illustrating  Scientific  and  Medical  Reports; 
by  Scientific,  Historical  and  other  learned  Societies;  by  the  leading  publishers,  and  for  illustrat- 
ing Town  and   Family  Histories,  Trade  Catalogues,  Show  Cards,  etc. 

Fac-similes  of  Medals  and  Coins,  Ancient  Manuscripts,  Paintings,  Drawings,  Sketches  and 
Autograph  Circulars,  Views  and  Portraits  from  Nature,  Medical  and  Scientific  Objects,  Antiquities, 
etc.,  etc. 

Special  attention  paid  to  the  reproduction  of  Architects',  Engineers'  and  Surveyors' 
Drawings. 


Our  establishment  is  fitted  to  produce  photo-mechanical  and  lithographic 
work,  of  all  kinds,  by  the  best  available  methods,  and  we  shall  be  pleased 
at  all  times  to  advise  on   any  work  that  may  be  required. 


THE   HELIOTYPE   PRINTING  CO., 

2II  TREMONT  STREET,   BOSTON,   MASS. 

NEW  YORK  OFFICE,       ,       .       .       658  BROADWAY. 
WASHINGTON  OFFICE,       .      .       29  CORCORAN  BUILDING. 


viii  THE    PHILADELPHIA    PHOTOGRAPHER. 

The  Blair  Tourograph  and  Dry  Plate  Co. 


MANUFACTURERS  OF 


PHOTOGRAPHIC  APPARATUS. 


-Q— ■ r—- 


Their  Cameras  are  Original  in  Design,  and  are  Warranted  to  be  Equal  to  the 

Best  in  the  Market,  and  are  now  too  well  known 

to  need  new  mention. 


Blair's  Reversible  Back  Combination 
Camera.  Open  for  nse  and  folded  for 
carrying. 


THEIR  COMBINATION  PORTRAIT  CAMERA, 

'WITH  FLEXIBLE  SLIDE-HOLDER, 

Was  the  Admiration  of  all  the  Visitors  at  the  late  Convention. 


<§^ASK   TO   SEE    IT.> 


Do  not  get   a   New  Camera,  but   have  our  Patent   Extension 

put  on  your  old  ones. 

Descriptive  Circulars  will  soon  te  out.  apply  for  tta  at  your  dealers. 


OFFICE  AND  FACTORY, 


471,  475  &  477  TREMONT  ST, 

BOSTON,    3VE^.SjS. 


THE    PHILADELPHIA    PHOTOGRAPHEK.  ix 

£»enj.  French  &  (Jo. 

No.  319  WASHINGTON  STREET,  BOSTON, 

Sole  Agents  in  the  United  States  for  the  Celebrated  Lenses 
Manufactured  by 

VOIGTLANDER   &  SON. 


ALSO,  THEIR  FAMOUS 


m 


Which  is  unrivalled    for  groups,  full-length   figures,  and  other  demands  in  the 
gallery,  and  every  species  of  out-door  work,  including  instantaneous  photography. 

j8^r°  THE  EURYSCOPE  is  made  exclusively  by  Voigtlander  &  Son,  and  their 
name  is  engraved  on  the  tube. 


PORTRAITS.    DiiRXlOT     L£aNd£S    VIEWS. 


IMPORTERS,  ALSO,  OF  THE  CELEBRATED 

TRAPP  &  MUNCH 

ALBUMEN    PAPER, 

AND  DEALERS  IN  ALL  KINDS  OF 

Photographic  Materials  and  Magic  Lantern  Slides. 

SEND  FOR  OUR  NEW  ILLUSTRATED  PRICE  LIST  OF  LENSES. 


wmtcz  phot  odflApfrrcs 

WHAT  IS  SAID  BY  ITS  READERS: 


We  cannot  recommend  it  too  highly  to  our  colleagues. 
— Mons.  Leon  Vidal,  Editor  of  the  Paris  Moniteur. 

The  success  of  this  latest  gem  of  photographic  litera- 
ture will,  no  doubt,  be  as  great  as  the  merit  of  the  work 
deserves.  Among  the  photographic  writers  of  America 
E.  L.  Wilson  stands  without  a  compeer. — Dr.  H.  Vogel, 
Editor  of  the  Photo.  Mitth. 

By  far  the  best  photographic  book  ever  published  in 
America.  It  is  written  with  great  elegance  and  mas- 
terly handling  of  the  subject. — Dr.  E.  Horning,  Editor 
of  Photographic  Correspondez,  Vienna. 

Would  not  be  without  one  for  triple  the  price. — 
Emmerson  Goddard,  Woonsoeket,  R.  I. 

It  is  a  perfect  encyclopasdia  of  the  photographic  art 
up  to  date. — H.  L.  Bliss,  Buffalo,  N.  Y. 

Photographies  is  the  most  imposing  book  devoted  to 
photography  I  have  seen. — J.  F.  Ryder,  Cleveland. 

Photographies  looks  fine,  and  is  selling  well.  We  are 
doing  our  best  to  push  it. — W.  Irving  Adams,  N.  Y. 

The  plan  of  the  book  is  novel.  .  .  .  Mr.  Wilson  could 
hardly  fail  by  this  plan  in  making  a  useful  and  prac- 
tical publication. — Anthony's  Bulletin,  N.  Y. 

It  is  the  very  best  text-book  upon  our  beloved  art. — 
John  R.  Clemons,  Phila. 

I  have  inquiries  for  a  good  book  on  photography,  and 
I  think  yours  is  that  book. — John  Carbutt,  Phila. 

It  is  a  pity  you  can't  send  to  every  one  the  pages 
from  1  to  17 ;  all  would  be  sure  to  go  for  the  rest  of  it. 
— J.  H.  Hallenbeck,  New  York. 

It  is  a  complete  library. — W.  D.  Satchel,  Cinn. 

We  know  of  no  one  in  our  fraternity  more  capable  of 
compiling  such  a  work  for  the  benefit  of  the  photo- 
graphic brotherhood  than  Mr.  Wilson. — J.  H.  Fitz- 
gibbon,  in  St.  Louis  Practical  Photographer. 

It  demands  a  position  in  the  library  of  every  photog- 
rapher, and  this  position  it  will  assuredly  attain  as 
soon  as  its  merits  become  known. — Editor  Photographic 
Times  and  American  Photographer. 

Photographies  is  my  evening  companion,  and  with  it 
the  evenings  are  very  short.  It  is  just  what  I  have 
been  wanting  for  a  long  time. — Well  G.  Singhi,  Bing- 
hampton,  N.  Y. 

It  is  a  good  work,  and  I  look  to  see  you  issue  a 
second  edition  as  soon  as  it  has  had  time  to  commend 
itself. — D.  Bachrach,  Jr.,  Bait.,  Md. 

I  consider  it  greatly  superior  to  anything  yet  pub- 
lished.— J.  B.  Leisenring,  Fort  Dodge,  Iowa. 

It  is  a  most  useful  book,  and  its  practical  teachings 
to  the  studious  photographer  contain  the  most  valuable 
information. — C.  D.  Mosher,  Chicago. 

Photographies  hits  the  nail  right  on  the  head.  I 
would  rather  have  it  than  all  the  other  books  on  pho- 
tography put  together.  The  idea  is  capital,  as  it  is 
original,  and  gives  us  the  whole  thing  in  a  nutshell. — ■ 
B.  W.  Kilburn,  Littleton,  N.  H. 


I  hope  that  every  photographer  will  see  to  it  that  his 
$4  goes  direct  to  you,  without  any  dealer's  commission 
off,  in  order  that  you  may  have  the  full  benefit  of  its 
price — a  benefit  indeed  for  the  many  years  you  have 
played  your  part  so  carefully  upon  the  photographic 
stage  for  us. — Fred.  C.  Phillips,  St.  Thomas. 

It  is  the  most  unique  aud  powerful  work  upon  the 
subject  I  have  ever  seen. — J.  E.  Beebe,  Chicago. 

The  book  of  photography.  It  is  worth  the  price  with 
compound  interest. — P.  Ejellmer,  Hazleton,  Pa. 

I  have  read  Photographies  through,  and  am  fully 
satisfied  it  is  without  a  peer  in  photographic  literature. 
To  me  it  is  invaluable. — E.  P.  Hovey,  Rome,  N.  Y. 

My  friend  and  tutor,  allow  me  to  thank  you  for  your 
noble  book,  and  may  thousands  testify  to  its  value  by 
giving  it  the  ehiefest  place  in  their  library. — F.  M. 
Spencer,  Mansfield,  Pa. 

I  can  assure  you  sincerely  that  I  never  invested  $4.00 
for  reading  with  as  much  satisfaction  as  in  this  case. — ■ 
C.  T.  Stuart,  Hartford,  Conn. 

A  short  time  since  I  had  the  pleasure  of  perusing 
your  new  book  Photographies.  As  a  result  I  want  it, 
and  enclose  check  for  four  dollars. — Geo.  Pine,  Trenton, 
New  Jersey. 

Of  all  the  photographic  literature  published,  this 
book  seems  the  very  best. — J.  P.  Spooner,  Stockton, 
Cal. 

I  am  very  much  delighted  with  it.  The  treatises  on 
dry-plates,  emulsions,  etc.  etc.,  are  all  very  minute  in 
detail. — J.  A.  Van  Drelzen,  Peoria,  111. 

I  think  the  Photographies  a  very  valuable  book,  one 
that  every  photographer  should  have. — K.  T.  Sheldon, 
West  Winsted,  Conn. 

It  is  the  best  book  I  ever  got  possession  of.  Those 
who  want  lightning  or  instantaneous  processes  had 
better  get  a  copy  and  work  with  pleasure.  Nothing 
like  it;  too  good  to  be  without. — Joseph  Thbiring, 
Cincinnati,  Ohio. 

The  first  short  article  that  I  read  was  worth  the  cost 
of  the  book,  and  in  looking  it  over  find  it  contains  an 
inestimable  amount  of  valuable  information  which 
would  not  be  found  out  in  a  lifetime  of  practice. — E. 
F.  Burchand,  Worthington,  Minn. 

Your  Photographies  will  supply  a  want  long  felt 
among  the  fraternity,  more  especially  among  those  like 
ourselves  who  are  "out  of  the  world,"  so  to  speak. — 
J.  R.  Hanna,  Auckland,  Australia. 

One  hundred  dollars  would  not  buy  mine  if  I  could 
not  get  another.  I  do  not  see  how  I  managed  so  long 
without  it. — Oscar  Cromwell,  Grizzly  Flat,  Col. 

Photographies  suits  me  better  than  any  similar  work 
I  have  come  across.  The  giving  of  the  experience  of 
different  workers  on  the  same  subject,  and  giving  it  in 
their  own  words,  being  an  especially  valuable  feature. 
— S.  B.  Kill,  Flemington,  N.  J. 

Your  Photographies  is  the  best  thing  out;  practical 
nnd  to  the  point,  and  no  nonsense. — Walt.  C.  North, 
Utica,  N.  Y. 


SALE  DON'T  STOP. 

"Will  be  mailed,  post-paid,  to  any  address,  on  receipt  of  $4.00. 

EDWARD  L  WILSON,  Author  and  Publisher,  1125  Chestnut  Street,  Philadelphia. 


THE    PHILADELPHIA    PHOTOGEAPHER.  xi 

A  GLOW  of  PHOTOGRAPHIC  PUBLICATIONS 


The  amateur  and  his  old  friend,  the  daily  worker,  are  well  taken  care  of  in  the 
literature  line,  and  we  ask  their  attention  to  the  following  list,  which  includes 
about  everything  there  is  need  for.  There  is,  in  fact,  a  treatise  on  every  branch 
of  photography. 

The  Philadelphia  Photographer.  A  monthly  magazine,  illustrated  by  photographs  of 
superior  merit.  $5  a  year;  $2.50  for  six  months. — Stands  ahead  of  all  its  kindred.  Eighteen 
years  of  success  is  a  sufficient  guarantee  of  its  value  and  use  to  the  practical,  working,  growing 
photographer.     Do  not  go  without  its  valuable  help. 

The  Ferrotyper's  G-uide.  Price,  75  cents. — Cheap  and  complete.  For  the  ferrotyper 
this  is  the  only  standard  work.     Seventh  thousand. 

Pictorial  Effect  in  Photography.  By  H.  P.  Robinson.  Cloth,  $1.50;  paper  cover, 
$1. — For  the  art  photographer. 

"Wilson's  Photographies.  The  newest  and  most  complete  photographic  lesson-book. 
Covers  every  department.     352  pages.     Finely  illustrated.     Only  $4.     By  Edward  L.  Wilson. 

"Wilson's  Lantern  Journeys.  By  Edward  L.  Wilson.  In  three  volumes.  Price,  $2  per 
volume. — For  the  lantern  exhibitor.  Gives  incidents  and  facts  in  entertaining  style  of  about  2,000 
places  and  things,  including  200  of  the  Centennial  Exhibition. 

Bigelow's  Artistic  Photography.  Price  reduced  to  $4. — For  the  lover  of  art.  Beats 
his  "Album  of  Lighting  and  Posing."     Superb!     With  twelve  photographs  and  instructions. 

Studies  in  Artistic  Printing.  By  C.  W.  Hearn.  Price,  $3.50. — Embellished  with  six 
fine  cabinet  and  promenade  portrait  studies. 

The  Photographic  Oolorists'  G-uide.  By  John  L.  Gihon.  Cloth,  $1.50. — The  newest 
and  best  work  on  painting  photographs. 

Photographic  Mosaics,  1884.  A  year-book.  Cloth  bound,  $1 ;  paper  cover  50  cents. 
Better  than  any  of  its  predecessors. — Back  volumes,  same  price. 

The  Photographic  Amateur.  By  J.  Traill  Taylor.  A  guide  to  the  young  photogra- 
pher, either  professional  or  amateur.     Price,  50  cents. 

The  Art  and  Practice  of  Silver-Printing.  By  H.  P.  Robinson  and  Capt.  Abney, 
R.E.,  F.R.S.     Price,  50  cents.     Illuminated  cover.     Cloth  bound,  75  cents. 

How  to  Make  Pictures.  (Second  edition  of  5,000  copies.)  The  ABC  of  Dry-plate  pho- 
tography.    By  Henry  Clay  Price.     Price,  illuminated  cover,  50  cents ;  cloth,  75  cents. 

Photography  with  Emulsion.  By  Capt.  W.  De  W.  Abney,  R.E.,  F.R.S.  Price,  $1 
per  copy. 

Twelve  Elementary  Lessons  in  Dry-plate  Photography.  Price,  25  cents  per 
copy. 

The  Modern  Practice  of  Retouching.     Price,  50  cents  per  copy. 

The  Spanish  edition  of  How  to  Make  Pictures.  Ligeras  Lecciones  sobre  Fotografia 
Dedicados  a  Los  Aficionados.     Price,  $1  per  copy. 

The  Progress  of  Photography  Since  1 879.  By  Dr.  H.  W.  Vogel.  A  splendid  helper 
to  all  workers.     Price,  $3. 

Picture  Making.     By  H.  P.  Robinson.     Cloth,  $r.     Paper,  50  cents. 

All  orders  ?or  above  will  be  filled,  free  by  post,  on  receipt  of  price  at  the 
office  of  this  magazine. 

EDWARD  L.  WILSON,  Photo.  Publisher,  1125  Chestnut  St.,  Phila. 


Xll 


TEE    PHILADELPHIA    PHOTOGRAPHER. 


LAFAYETTE  W.  SEAVEY'S 

New  Studio  and  Workshop, 

Twice  the  Size  of  the  Old  One,  Occupies  the  Entire 
Four-story  and  Basement  Building, 

216  East  Ninth  St.,  New  York,  U.  S. 

And  is  Fitted  with  Numerous  Conveniences  and  Appliances  for  the  Produc- 
tion of  First-class  Back-grounds  and  Accessories. 

His  exhibit  at  the  great  National  Photographic  Convention  held  in  August  last,  at  Cincinnati, 
afforded  conclusive  proof  of  the  practicability  of  his  various  productions,  as  he  illustrated  their  uses 
by  posing  a  trained  lady  model  attired  in  street  costume,  explaining  why  certain  poses  were 
appropriate  to  certain  accessories  and  back-grounds.  These  exhibitions  occurring  several  times 
daily  within  the  space  occupied  by  his  exhibit,  were  witnessed  by  many  photographers  who  com- 
mended them  as  being  of  great  utility,  and  by  pressmen  who  pronounced  them  "Lessons  in  Art." 

Among  the  new  accessories  exhibited  meeting  with  approval  were  the  following :  Seavey's 
Apple,  Beech,  and  Birch  Papier  Mache  Trees  and  Stumps,  Semi-circular  Rustic  Seats,  a  new 
elaborate  Garden  Seat,  Parkwall  and  Gates,  a  Wall  (for  children)  trimmed  with  vines,  several 
rich  Interior  Back-grounds  and  a  Foliage  Back-ground  for  Busts,  attracted  much  attention. 

Our  aim  will  be  to  cater  to  the  advanced  taste  of  photographers,  and  to  put  forth  only  such 
articles  as  we  know  to  be  of  real  worth.  Our  agents  are  located  in  London,  Liverpool,  Paris, 
Berlin,  Cologne,  Vienna,  St.  Petersburg,  and  Sydney.     See  their  advertisements. 

Respectfully, 

LAFAYETTE  W. SEAVEY. 


SAVE   PHOTOGRAPHS. 


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FOR   Si  AT. P.    RV   AT.T.   Tnp  a  T-nvDcs 


xiv  THE    PHILADELPHIA    PHOTOGRAPHER. 


-THE 


PROGRESS  OF  PHOTOGRAPHY 

FROM     1879    TO     1884. 
By  DR.  H.  W.  VOGEL, 

Professor  and  Teacher  of  Photography  and  Spectrum  Analysis  at  the  Imperial 

Technical  High  School. 


Tsro^sjsr  ready. 

A  Review  of  the   more   Important   Discoveries   in 

Photography  and  Photographic  Chemistry 

within  the  Last  Four  Years. 

READ    WHAT    HE    SAYS    ON 

EMULSION   PHOTOGRAPHY, 

AND 

THE  CHAPTER  ON  PHOTOGRAPHY  FOR  AMATEURS. 

INTENDED  ALSO  AS  A  SUPPLEMENT  TO  THE  THIRD  EDITION 
OF  THE  HANDBOOK  OF  PHOTOGRAPHY. 

Eevised  by  EDWARD  L.  WILSON,  Editor  Philadelphia  Photographer. 
Translated  from  the  German  by  ELLERSLIE  WALLACE,  Jr.,  M.D. 


S3.00.         347    P  ACCESS.        $3.00. 

With  Seventy-two  Illustrations,  and  an  admirable  portrait  taken  with 
Electric  Light,  by  W.  Kurtz,  New  York. 

(SEE  OPPOSITE  PAG-E.) 


THE  PHILADELPHIA  PHOTOGRAPHER. 


xv 


VO  GEL'S 


Progress  in  Photography. 


CONTENTS: 


CHAPTER  I. 
PHYSICAL  EFFECTS  OF  LIGHT. 

CHAPTER  II. 
CHEMICAL  EFFECTS  OF  LIGHT. 

A.  Effects  of  Light  upon  Metalloids  and  their 

Compounds. 

B.  Effects    of  Light  upon  Metals  and   their 

Compounds. 
The  Double  Salts  of  Iron  and  Oxalic  Acid. 
The  Iron  Lichtpaus  Process. 
Actinium,  a  new  Metal. 
Salts  of  Copper. 
Salts  of  Chromic  Acid. 
Combinations  of  Mercury. 
Platinum  Printing. 
The  Salts  of  Silver. 

The  Various  Modifications  of  Bromide  of 
Silver  and  the  Chemical  Principles  of  the 
Emulsion  Process. 
Photo-chemistry  of  Chloride  of  Silver. 
Rare  Salts  of  Silver. 

CHAPTER  III. 
PHOTOGRAPHIC  CHEMISTRY. 

Different  Forms  of  Pyroxyline, 
Concerning  the  Characteristics  of  Gelatine. 

CHAPTER  IV. 
PHOTOGRAPHIC  OPTICS. 

New  Objectives. 

Artificial  Light  and  its  Application  to  Pho- 
tography. 
Chemical  Photometers. 

CHAPTER  V. 
PHOTOGRAPHIC  APPARATUS. 

Cameras,  Changing-boxes,  and  Tripods. 
Instantaneous  Shutters. 


CHAPTER  VI. 

THE  NEW  PHOTOGRAPHIC 
PROCESSES. 

A.  New  Negative  Processes  (Dry  Processes). 
Pieparation  of  Gelatine  Emulsion. 

a.  The  Author's  Method. 

b.  Eder's  Method  with  Ammonio-nitrate 

of  Silver. 

c.  Eder's  Combination  Method  with  the 

Author's  Modification. 

d.  Eder's  New  Method  with  Carbonate 

of  Ammonia. 

e.  Precipitation  Methods. 

f.  Vogel's  Emulsion. 

B.  The  Manipulation  of  the  Gelatine  Plates. 

1.  Gelatine  Plates. 

a.  The  Exposure. 

b.  The  Development. 

c.  The  Fixing. 

d.  The  Intensifying. 

<?.  The  Drying  and  Finishing. 

2.  Vogel's  Emulsion  Plates. 

3.  Failures  in  Gelatine  Plates. 

4.  Notes  on  the  Gelatine  Process. 

C.  New  Positive  Processes. 

1.  The  Platinum  Processes  (Platinotype). 

2.  New  Silver  Printing  Processes. 

3.  New  Enlargement  Processes  and  Appa- 

ratus. 

4.  New  Permanent  Printing  Processes. 

CHAPTER  VII. 

PHOTOGRAPHIC  ESTHETICS  AND 

PORTRAIT  TECHNIQUE. 

CHAPTER  VIII. 
PHOTOGRAPHY  FOR  AMATEURS. 


$3.00 P  R I C  E $3.00 


MAILED  ON  RECEIPT  OF  PRICE,  BY 

EDWARD  L.  WILSON,  1125  Chestnut  St.,  Philadelphia. 


THE  PHILADELPHIA  PHOTOGRAPHER. 


DEALERS'  DIRECTORY. 


The  following  houses  are  to  be  recommended  as 

the  best  for  photographers  in  their  localities. 
4 


S.  T.  BLESSING, 

New  Orleans, 

La. 


THE 


BEST  BOOK 


IS 


SMITH  &  PATTISON, 

83  &  85  Wabash  Ave. 
Chicago. 


H.  A.  HYATT, 

Mound  City  Photo.  Stock  Honse, 

8th  and  Locust  Sts., 

St.  Louis,  Mo. 


WILSON'S 

PHOTOGRAPHICS, 

$4.00. 


D.  J.  RYAN, 

Savannah, 

Ga. 


SCOVILL  MANF'G  CO, 

419  &  421  Broome  St., 
New  York. 


D.  TUCKER  &  CO., 


Buffalo, 


N.  Y. 


BLESSING  &  BEO., 

Galveston, 

Texas. 


C.H.CODMAN&CO. 

Boston,  Mass. 


WILSON,  HOOD  &  CO, 

825  Arch  Street, 
Philadelphia,  Pa. 


B.  FRENCH  &  CO. 

Boston,  Mass. 


BUCHANAN,  SMEDLEY 
&  BROMLEY, 

25  N.  Seventh  St., 

Philadelphia. 


EDWARD  L.  WILSON, 

Photo.   Publisher, 
LANTERN  SLIDES, 

1 1 25  Chestnut  St., 

Philadelphia. 


MULLETT  BROS. 

Kansas  City, 
Mo. 


OSCAR  FOSS, 

San  Francisco, 
Cal. 


G.     BOD  E, 

Milwaukee, 

Wisconsin. 


SHEEN  &  SIMPKISON 

Cincinnati, 

Ohio. 


+ 


\ 


THE 


7?7 


PHILADELPHIA 


PHOTOGRAPHER. 


EDITED  BY  EDWARD  L.  WILSON. 


VOLUME  XXII. 


PHILADELPHIA: 

EDWARD  L.  WILSON,  PUBLISHER, 

1125  CHESTNUT  STREET, 

1885. 


DORNAN,  PRINTER. 


PHOTOGRAPHIC  EMBELLISHMENTS. 


January.— Studies.  By  H.  P.  ROBINSON,  Tun- 
bridge  Wells,  England. 

February.— Portrait  Study.  By  P.  H.  ROSE, 
Galveston,  Texas. 

March. — The  World's  Cotton  Centennial  Expo- 
sition, New  Orleans.  By  Edward  L. 
Wilson. 

April. — Marine  Views.  By  The  Pacific  Coast 
Amateur  Club,  San  Francisco,  Cal. 

May. — Over  the  Sea  (Portrait).  By  W.  Wykes, 
Grand  Rapids,  Mich. 

June. — Instantaneous  Marine  Views.  By  I.  W. 
Taber,  San  Francisco,  Cal. 


July. — Horticultural    Hall,    New    Orleans.       By 

Edward  L.  Wilson. 
August.— Portrait  Studies.     By  F.  GUTEKUNST, 

Philadelphia. 
September. — A  Stanley  Dry-plate  Gem.     ByC.  F. 

CONLY,  Boston,  Mass. 
Ociober. — Selection  from  the  First  Gennert  For- 
eign Prize  Collection.    By  Fritz  Eilender, 

Cologne,  Germany. 
November. — Portrait  Study.     By  CHANDLER  & 

Scheetz,  Philadelphia. 
Dece?nber. — Second    German    Gennert    Foreign 

Prize   Collection  from    Buffalo  Convention. 

By  Frederick  Muller,  Munich. 


PHOTO-ENGRAVINGS,  WOODCUTS,  ETC. 


Instrument  for  Measuring  Speed  of  Shutters        4 

Pictures  from  New  Orleans  Exposition 65,  66 

Illustration  of  Isochromatic  Photography...     143 

Eastman  Negative-paper  Box 271 

Frame  for  Negative  Paper 272 

New  Attachment  for  Burnishers 279 

Eastman- Walker  Roll-holder  299,  300 

Developer  Bottle 321 


Drafting-room  of  Levytype  Company 351 

Copying-table  of  Levytype  Company 352 

Heliostat  of  Levytype  Company 351 

Stereotype  Furnace  of  Levytype  Company  353 

Thumb-marks 360 

Studio  Studies 362,  363 

Walter  Bentley  Woodbury,  Portrait 369 

Sketches  Illustrating  Composition  373 


CONTENTS. 


PAGE 

About  Instantaneous  Pictures 378 

About  Portraits 25,91 

A  Convenient  Dark-room 1 

Adieu,  Twenty  Two 377 

A  Few  Hints  on  Developers  149 

A  Happy  New  Year 1 

Alum  in  Silver  Solution  for  Paper 215 

Amateur  Society,  Boston,  Exhibition  of 23 

American  Paper  Negatives  in  Europe 331 

A  Model  Exhibit 312 

An  Attempt  to  Photograph  the  Corona 190 

An  Attempt  to  Photograph  the  Solar  Corona 

without  the  Eclipse 322 

A  New  and   Useful  Attachment    to    Bur- 
nishers   279 

Aniline  Process,  Influence  of  Moisture  on  106 
An  Interesting  Visit  to  the  Eastman  Dry- 
plate  and  Film  Company 297 

Another  Theatrical  Triumph 336 

Answer  to  an  Amateur 108 

Answer  to  the    Author  of  Vicissitudes    of 

Gelatine 72 

A  Portable  Support  for  Washing  Gelatine 

Plates 253 

Application  of  Photography  to  Astronomy  105 

Arousement  of  Buffalo 324 

Art  and  Business 61 

Art  Illustration  and  Photography 120 

Aurora  Photography 369 

A  Word  in  Defence  of  the  Amateur 145 

Azaline  Plates,  Experience  with 179 

Background,  The  Use  and  Abuse 266 

Balloon  Photography 333 

Blue  Prints 366 

Book  Bargains 278 

Boston  Society,  Exhibition  of 23 

Buffalo  Convention 277 

Buffalo  Exhibition 286 

Camera  Amateurs 337,  366 

Canvas,  Photography  Upon 47 

Carbon  Printing,  Passavant's  Lecture 200 

Carbutt's  Chloride  Paper 123 


Chemical  Action  of  Light 364 

Chloride  Paper 123 

Chrome  Alum  in  Silver  Solution 215 

Citrochloro-gelatine  Paper 327 

Colonel  Baratti's  Shutter 381 

Colored  Media  for  the  Dark  Room 392 

Composite  Photography 316 

Convenient  Arrangement,  A 397 

Conversion  of  the  Silver  Image 22 

Dark  room,  A  Convenient 1 

Dark  room  Ventilation 6 

Death  of  Henry  Greenwood 48 

Defects  in  Rapid  Combination  Lenses 248 

Detective  Camera,  The  New 382 

Deterioration  of  Dry  Plates 231 

Developers,  A  Few  Hints  on 149 

Developer,  Improved  for  Gelatine  Plates...  4 

Developers,  Oxalate  or  Pyro 67 

Development  with  Sodic  Sulphide  and  Car- 
bonate Soda 29 

Development,  Scientific 244 

Development  of  Dry  Plates 250,  254 

Development 348 

Dignity  of  Photographic  Art 229 

Discussion  of  Development 254 

Discussion  on  Dry  Plates  and  Developers..  231 

Drawing,  Making  Negatives  by 363 

Dry  Plates,  Measurement  of  Sensitiveness  of  34 

Dry  Plates,  The  Washing  of 253 

Dots  of  the  Day 3,  80,  336 

Dotted  Down  During  Debate 278 

Durable  Sensitive  Paper 29 

Eastman's  Negative  Paper 270 

Editor's  Table 31,  63,  93,  127,  157, 191, 

222,  276,  308,  341,  375,  406 

Enlargements  on  Emulsions 10 

Enlargements  on  Canvas 10 

Enlarging  Process,  Obernetter's 10 

Errors  in  the  Report  of  the  Photographers' 

Convention 320 

Exhibition  of  Amateur  Photographs 23 

Exhibition   of   the   New   York   Society   of 

Amateur  Photographers: 397 


VI 


CONTENTS. 


Exhibition  of  Lantern  Slides  (Phila.  Soc.)...       89 
Experience  with  Azaline  Plates 179 


Forewarned  is  Forearmed 39 


Gaslight  for  Photography 179 

Gelatine- film  Negatives 325 

German  Correspondence 10,  61,  69.  106, 

179.  204,  302.  333.  364,  394 

Gleanings 28,  93,  no,  221,  307,  361 

Greenwood,  Henry,  Death  of 48 


Handling  and  Development  of  Dry  Plates..  250 

Happy  New  Year,  A 1 

Heliographic  Process  in  Half-tones 302 

How  I  Keep  My  Prices  Up 21 

How  Mosaics  Made  the  Million 43 

How  to  See 238 

Honor  to  Whom  Honor  is  Due 329 

How  the   New  York   World  Expatiates  on 

Photography 388 

Hypo  in  Gelatine  Negatives 172 

Hypo  as  a  Resensitizer 69 


Improved  Developer  for  Gelatine  Plates....  4 

Improved  Sensitiveness  of  Dry  Plates 302 

Increasing  Sensitiveness  of  Dry  Plates 333 

Influence  of  Moisture  in  Aniline  Process...  106 

Intensifying  Negatives  43 

Isochromatic  Photography,  Notice  of. 69 

Isochromatic  Photography,  Ives's 141 

Isochromatic  Photography 364 

Isochromatic  Plate  for  Landscape 333 

Isochromatic  Plate  for  Portraits 333 

Isochromatic  Process 304 

Is  Photography  a  Lost  Art  ? 370 


Lag,  No 313 


Making  Negatives  by  Drawing 364 

Measuring  the  Sensitiveness  of  Dry  Plates..  37 
Measurement  of  the  Speed  of  Photographic 

Shutters 4 

Mosaics  from  Mosaics 12 

Moonshine  in  Photography 106 

Modern  Dry  Plates 203 

Mr.  Ives  to  the  Public 384 

My  Developer  Bottle 321 


PAGE 

Negatives.  Intensifying  of. 42 

Negatives,  Reduction  of  Over-strong 28 

Negatives,  Thin 28 

New  Bodies  for   Improving   the   Develop- 
ment of  Dry  Plates 364 

New  Departure  in  Paper  Printing 123 

New  Orleans  Exposition,  Photographing  the  75 
New  Orleans   Exposition,  Photography  at 

19,  33.  65.  97,  129,  161,  216 

Night,  Photography  at 69 

No  Blisters  in  Mine 383 

No  Books  for  the  P.  A.  of  A 359 

No  Lag 3J3 

North,  Central,  and  South  American   Ex- 
position   33° 

Notices  of  Isochromatic  Photography 69 


Obernetter's  New  Enlarging  Process 10 

Obituary  of  Titian  R.  Peale.. 125 

Obituary  of  W.  H.  Rhoads 80 

Observations  on  Silver  Printing 381 

On  Prints  and  Printing 135 

Orthochromatic  Plates 106 

Our  Picture 6,  46,  81, 101,  134,  181, 

21S.  274.  3°i>  332,  361,  4°5 

Oxalate  or  Pyro 67 


P.  A.  of  A.,  Pertaining  to  thc.53,  78,  185, 194,  225 

Paper  Negatives 330 

Paper,  Rapid 106 

Paper,  Durable  Sensitive 29 

Paper  Support  for  Negatives  331 

Passavant's  Lecture  on  Carbon  Printing 200 

Pertaining  to  the  P.  A.  of  A 385 

Photographing  on  Pike's  Peak 356 

Photographic     Experience     at     the     New 

Orleans  Exposition 138,  183 

Photographic  Mosaics,  1886 377 

Photographic  Pupils,  Study  of  Art  for 61 

Photographic    Shutters,    Measurement    of 

Speed  of. 4 

Photographic  Visit  to  Some  of  Our  Battle- 
fields  73.  *3° 

Photography  and  Art 371 

Photography  and  Art  Illustration 120 

Photographer  and  his  Patrons ,  61 

Photography  at  Night 69 

Photography  at  the  New  Orleans  Exposition 

19.  33.  65,  75,  97,  129,  161,  216,  280,  322,  361 

Photography  in  Germany 61 

Photography,  Isochromatic 141 

Photography  of  the  Aurora 364 

Photography  upon  Canvas 47 


CONTENTS. 


Picture,  Our 6,  46,  81,  101,  134, 

181,  274.  301 
Platinotype,  from  an  Artist's  Point  of  View         2 

Pleasure  of  Photography 125 

Portraits,  About 25 

Portrait  Photography  on  Platinotype 364 

Prices,  How  I  Keep  My,  Up 21,  91 

Prints  and  Printing 135 

Process-monger  again  on  the  Track 72 

Protecting    Photographic    Chemicals    from 

Air 353 

Pyrogallic  Acid  and  Oxalate  of  Iron 389 


Questions  Put  by  an  Amateur 91 


Reduction  of  Over-strong  Negatives 28 

Report  of  the  Committee  on  Photography..     226 
Review  of  Photographs  in  PHILADELPHIA 

Photographer 55,  86,  103 

River  Scenery 202 


Sal  Ammoniac  as  a  Fixing  Agent 3 

Scientific  Development 244 

Sensitiveness  of  Dry  Plates,  Increasing  the  333 

Sensitiveness  of  Dry  Plates,  Measurement  of  37 

Sensitometer  Researches 333 

Shall  We  Use  Quick  or  Slow   Plates  for 

Landscape  Work 379 

Shutters,    Photographic,    Measurement    of 

Speed  of. 4 

Silver  Bath,  Concerning  the  Old 9 

Society  Gossip 16,  48,  82,  118,  146,  173, 

206,  305,  338,  367,  400 
Some  of  the  Beauties  of  Dry-plate  Working 

150,  187,  196 

Stamp  Portrait  Patents 42 

Standard  Sizes  for  Plates  and  Holders 10 


Strong  Negatives,  Reduction  of. 28 

Studio  Studies 362,  391 

Study  your  Patrons  before  Sitting  Them  ...        15 
Summer  in  Kentucky  with  Gelatine  Plates..       51 


Tear  Drops  on  Gelatine  Negatives 

The  Bichromate  Diseases 

The  Old  Case  Argued  Again 

The  Sun  at  Work 

The  Use  and  Abuse  of  the  Backgrounds.... 

Thin  Negatives 

Thumbs  Down    

Thumb-marks,  Those 

Tracing  Process,  New  Photographic 

Two    Years'     Experience    with    One    De- 
veloper  


380 
386 
316 

351 

266 

28 

359 

395 


328 


Use  and  Abuse  of  the  Background 266 


Ventilation  of  the  Dark-room 6 

Vicissitudes  of  Gelatine  40,  216 

Vogel's  German  Correspondence 10,  61, 

69,  106,  179,  204,  302,  333,  364 


Walter  B.  Woodbury 144,  340,  345,  368 

Warnerke's  Rapid  Paper 106 

Washing  Dry  Plates 253 

Waterproof  Varnish 390 

We  are  asked  to  Publish  the  Following 41 

What  is  a  Study  ? 69 

Whiteall's  Sensitizer 69 

Whose  Hands  are  We  In  ? 109 

Who  will  Help? 80 

Will  Photography  become  a  Lost  Art 319 

Worthy  Life  Ended,  A 369 


THE 


EDITED    BY    EDWARD    L.    WILSON. 


Vol.  XXII. 


JANUARY,   1885. 


No.  253. 


A  HAPPY  NEW  YEAR. 

To  oar  patrons  one  and  all  we  wish  a 
Happy  New  Year.  The  past  year  has  not 
been  one  of  which  we  could  boast  much.  It 
was  a  year  of  great  depression  in  prices,  and 
consequently  of  business,  and  did  not  foot 
up  very  satisfactorily.  And  yet  there  were 
a  good  many  cheerful  things  about  it. 
Great  progress  was  made  in  the  production 
of  work.  There  are  a  great  many  more 
able  to  master  the  intricacies  of  the  new 
methods  of  working  than  there  were  a  year 
ago.  There  are  many  more  good  photog- 
raphers. 

In  some  directions  low  prices  have  been 
systematically  combated  and  beaten — better 
prices  have  been  reached.  In  no  direction 
do  we  hear  of  prices  having  become  more 
depressed.  "We  have  held  our  own,  and 
that  is  a  good  deal  to  be  thankful  for  when 
the  tendency  of  things  is  downward.  Agi- 
tation of  the  subject  has  had  somewhat  to 
do  with  this,  and  we  believe  a  reformation 
has  started.     Let  us  hope. 

A  few  days  ago,  in  conversation  with  an 
experienced  newspaper  publisher,  he  re- 
marked how  difficult  it  was  now,  in  this 
age  of  competition  and  close  prices,  even  to 
hold  your  own,  to  say  nothing  of  securing 
now  patronage.  This  is  a  fact.  If  business 
is  to  prosper,  then  extraordinary  push  must 
be  given  it  by  all  the  thought  and  effort  in 
our  power.  So  is  it,  if  we  would  make 
esthetic  progress,  we  must  think  and  prac- 


tise, and  push  all  we  know  how,  if  we 
would  hold  our  own  ;  and  then  we  must  do 
somewhat  more  if  we  would  make  any 
progress  at  all. 

But  cheer  up,  friends.  There  is  every 
inducement  to  do  all  these  things.  We 
follow  the  most  fascinating  art  there  is. 
What  in  the  world  equals  the  pleasure  of 
developing  a  plate  ?  It  is  creation  !  Again 
the  public  is  becoming  more  appreciative, 
and  growing  into  a  more  intelligent  idea  as 
to  the  importance  of  our  art,  and  we  are 
growing.  Take  heart,  then,  and  work 
away  in  the  way  you  know  is  best,  and  we 
feel  that  "a  good  year  "is  sure  to  follow. 
Again,  then,  a  Happy  New  Tear  to  one 
and  all  for  1885. 


A  CONVENIENT  DARK-ROOM. 


DR.    H.  M.  HOWE. 


As  most  amateur  photographers  have  ex- 
perienced the  inconvenience  of  attempting 
to  use  an  ordinary  bath-room  as  a  dark-room 
for  developing  negatives,  it  may  not  be  out 
of  place  to  describe  briefly  how  a  very  com- 
plete independent  dark-room  or  house  may 
be  constructed.  My  own  dark-room  in  the 
country  is  made  as  follows:  It  is  built  of 
matched  boards — having  a  floor  space  of 
six  feet  square — and  it  is  nine  feet  in  height. 
Opposite  the  door  is  a  three-light  window, 
set  with  ruby  glass,  inside  of  which  is  fast- 
ened a  piece  of  ruby  paper  further  to  modify 


2 


THE    PHILADELPHIA    PHOTOGKAPHEP. 


the  light.  Just  beneath  this  window  is  a 
2J  ft.  cast-iron  sink,  with  the  waste  pipe 
leading  outside  of  the  building.  A  shelf 
extends  at  the  same  height  as  the  top  of 
this  sink — from  it  around  the  sides  of  the 
room — and  one  or  two  other  shelves  are 
placed  on  either  side  above  this  shelf.  A 
convenient  space  on  the  shelf  to  the  right 
of  the  sink,  is  covered  with  sheet  lead  ar- 
ranged to  drip  into  the  sink,  and  a  fender 
flashed  with  lead  prevents  splashing  on  the 
left.  All  the  chemicals,  etc.,  are  kept  on  the 
right-hand  side  of  the  house,  and  fresh 
plates,  and  a  convenient  place  for  putting 
them  into  the  holders  may  be  found  at  the 
left  hand. 

The  novel  and  most  essential  feature  of 
this  dark-house  is  the  manner  in  which  the 
roof  is  arranged.  The  finish  of  the  house, 
at  the  top,  is  a  broad  cornice — and  the  floor 
of  the  roof  is  about  10  inches  below  the  top 
of  this  cornice.  The  roof  is  indeed  a  large 
box  or  tank  which  is  lined  with  roofing-tin 
carried  over  and  tacked  to  the  outer  edge  of 
the  cornice.  An  inch  lead  pipe  is  carried 
from  the  bottom  of  this  tank  in  a  corner 
through  the  side  below  the  cornice,  by 
means  of  which  the  tank  can  be  emptied. 
This  is  ordinarily  kept  corked.  Another  f 
lead  pipe,  extending  J  above  the  bottom  of 
the  tank  is  carried  down  into  the  dark-room 
to  the  right-hand  side  of  the  window — 
stapled  to  its  frame.  This  is  provided  with 
two  stop-cocks  one  of  which  carries  water  to 
a  negative  washing-box,  which  overflows 
into  the  sink — and  from  the  other  stop-cock 
the  first  washing  is  given  the  negative  dur- 
ing the  process  of  developing.  At  first 
water  was  taken  to  this  tank  from  a  neigh- 
boring roof,  but  it  was  found  better  to  have 
it  filled  at  will,  by  a  pump  in  an  adjoining 
barn.  Of  course,  each  one  would  adopt  the 
most  convenient  method  at  hand  of  getting 
his  water  supply.  A  great  advantage  in 
this  arrangement,  apart  from  the  conveni- 
ence of  having  plenty  of  water  on  tap,  is 
the  fact  that  this  sheet  of  water  covering 
the  top  of  the  house  helps  very  materially 
to  keep  the  room  reasonably  cool  in  hot 
weather.  This  was  further  helped  by  mak- 
ing a  light  cover  for  the  top  of  the  tank  of 
\  pine,  which  was  made  over  a  frame,  giv- 
ing the  top  a  slightly  arched  form.    By  this 


arrangement  the  water  was  kept  cool,  and 
insects  and  dirt  were  kept  out  of  it.  By 
having  the  drawing-off  pipe  extend  slightly 
above  the  bottom  of  the  tank,  clean  water 
is  always  had,  as  impurities  settle  below  the 
mouth  on  the  floor  of  the  tank.  The  whole 
contrivance  is  quite  inexpensive,  and  I  have 
found  it  to  be  practically  a  very  convenient 
developing  room. 


THE    PLATINOTYPE,   FROM     AN 
ARTIST'S  POINT  OF  VIEW. 

To  artists,  and  those  possessing  the  art 
faculty  to  any  considerable  extent,  there  is 
no  form  of  photographic  reproduction  yet 
introduced  which  possesses  so  many  excel- 
lences for  numerous  classes  of  subjects  as 
the  platinotype.  On  account  of  its  clear 
black  tones  and  absence  of  gloss,  it  gives  one 
at  once  the  impression  of  an  India-ink 
drawing — a  mode  of  art  which  has  always 
been  highly  prized — or,  again,  a  mezzotint 
or  aquatint  engraving,  processes  of  repro- 
duction which  have  been  favorites  with 
artists  on  account  of  the  beautiful  way  in 
which  effects  of  light  and  dark  are  multi- 
plied and  given  a  permanent  existence  ; 
and  when  one  thinks  of  the  hours  of  patient 
elaboration  required  to  make  a  fine  India- 
ink  drawing,  or  the  great  expense  of  having 
an  engraving  in  mezzotint  or  aquatint  exe- 
cuted, and  that  by  a  trifling  outlay  any  one 
may  themselves  be  producing  superb  little 
works  of  art  of  the  same  character,  one  can- 
not be  surprised  that  the  practice  of  pho- 
tography is  every  day  becoming  more  uni- 
versal. And  there  must  be  a  rapidly 
growing  preference  for  the  platinotype- 
print.  Indeed,  people  have  been  so  long 
accustomed  to  the  silver  print  on  albumen 
paper  that  any  change  which  seems  a  trans- 
formation of  photography  towards  engrav- 
ing, appears  a  startling  innovation.  But 
why  should  there  not  be  more  beauty  in  an 
engraving  or  analogous  print  than  in  the 
sharp  brown  or  purple  photograph,  with  its 
glossy,  glaring  surface,  which  must  be  held 
at  a  proper  angle  to  be  seen  ? 

It  is  true  that  a  negative  of  a  certain  kind 
is  necessary  to  the  production  of  a  good 
platinum  print,  but  those  who  are  striving 
after  excellence  will  find  this  an  additional 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


incentive  to  the  production  of  such  work. 
In  the  first  place,  the  subjects  chosen  should 
be  good — remarkable  for  an  agreeable  pro- 
portioning of  high  lights  and  deep  shadows, 
interspersed  with  a  proper  amount  of  half 
tones,  and  then  with  a  good,  reliable  make 
of  plates,  and  care  about  the  exposures  and 
development,  there  need  be  no  difficulty  in 
getting  negatives  that  will  produce  beauti- 
ful platinum  prints. 

A  still  further  and  very  important  ad- 
vantage in  these  prints  is  their  suscepti- 
bility to  receive  retouching  by  artists  or 
those  in  any  degree  skilled  in  the  use  of 
crayon  or  India-ink.  In  these  days  when 
art  training,  to  a  greater  or  less  extent,  is 
becoming  so  universal,  what  an  important 
auxiliary  this  process  becomes  to  hundreds 
who  have  been  trained  in  the  use  of  crayon 
or  brush,  and  yet  have  not  the  time  or  skill 
to  produce  a  work  of  art  from  beginning  to 
end  by  hand  and  eye  ! 

Xanthus  Smith. 

SAL-AMMONIAC    AS    A    FIXING 
AGENT  FOR  SILVER  PICTURES. 

BY   E.  LIESEGANG. 

We  have  recently  made  some  experiments 
with  solution  of  sal-ammoniac  as  a  medium 
for  the  fixing  of  bromide  of  silver  gelatine 
plates.  Plates  which  had  not  been  exposed, 
when  subjected  to  the  action  of  the  bath  for 
several  hours,  lost  completely  the  bromide 
of  silver  which  they  contained,  in  the  film, 
and  merely  the  pure  gelatine  layer  appeared. 
The  effect  was  more  rapid  when  the  plates 
were  first  treated  with  ammonia.  Plates 
which  had  been  developed  with  pyrogallic 
acid  were  slower  in  fixing  under  the  in- 
fluence of  the  sal-ammoniac  solution  than 
unexposed  plates,  but  with  a  longer  time 
the  fixing  was  effectual.  Plates  containing 
iodide  of  silver  in  the  film  in  connection 
with  the  bromide  of  silver,  exhibited  a  trace 
of  fogginess  probably  from  the  unaffected 
iodide  of  silver  which  did  not  injure  them 
in  the  least  and  which  entirely  disappeared 
with  longer  treatment  with  the  fixing  bath, 
but  the  bromide  of  silver  plates  fix  perfectly 
clear.  We  have  not  perceived  in  our  ex- 
perience any  injurious  influence  of  the  sal- 
ammoniac  solution  upon  the  film  with  the 


employment  of  plates  prepared  by  the  newer 
method  with  chrome  alum.  True,  the 
plates  assume  in  the  bath  a  strong  relief, 
and  sometimes  worm-shaped  elevations  ap- 
pear, which,  however,  shrink  up  on  drying 
and  do  not  interfere  with  copying  or  in 
making  transparencies.  The  tone  of  the 
picture  is  an  agreeable  brownish-black. 

Old  gelatine  plates  of  Maudsley,  pre- 
pared four  years  ago,  did  not  comport  well 
with  the  fixing  agent ;  the  gelatine  softened 
very  much  and  with  slight  rubbing  separated 
from  the  plate;  but  with  the  new  plates 
there  is  no  such  occurrence.  Perhaps  it 
would  be  advisable  in  such  cases  when  we 
have  to  deal  with  soft  gelatine  to  add  alum 
to  the  fixing  bath  or  previously  to  bathe 
the  plate  in  solution  of  alum.  When  the 
plates  had  been  developed  with  ferro- 
oxalate  developer  the  relief  was  not  great, 
but  the  plates  did  not  fix  much  more  rapidly 
than  when  pyrogallic  acid  was  used  as  the 
developing  agent.  It  is  presupposed  that 
the  fixing  should  be  done  in  the  dark,  in- 
asmuch as  the  film  acquires  a  color  which  is 
not  got  rid  of  during  the  fixing.  These 
remarks  perhaps,  from  a  practical  stand- 
point, are  not  of  much  importance  inasmuch 
as  the  process  requires  several  hours  for  its 
completion  ;  but  times  may  occur  when  it 
may  be  of  advantage  to  use  it  in  place  of 
the  hyposulphite  of  soda  fixer.  We  have 
made  experiments  in  fixing  iodide  of  silver 
plates  with  sal-ammoniac,  but  *so  far  our 
efforts  have  not  been  crowned  with  success. 
The  iodide  of  silver  seems  to  be  much  less 
soluble  in  this  agent  than  either  the  bromide 
or  chloride. 

LOTS  OF  THE  DAY. 

Try  this — it  will  please  you.  My  attention 
was  called  to  the  new  intensifier  as  given  by 
Mr.  Gentile  before  the  Chicago  Photo- 
graphic Association  on  November  5.  I 
made  solution  as  follows : 

Bichloride  of  Mercury,     .     2  drachms. 
Water,       .         .         .         .12  ounces. 
I  bleached  my  negative  in  this  until  it 
changed   its    color,    when   I    washed    and 
placed  in  this  solution  : 

Sulphite  of  Soda,         .         .      1  ounce, 
Water,         .  ,         ,         .    10     " 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


At  first  the  negative  looked  streaked,  but 
this  soon  disappeared  and  became  uniform. 

I  see  that  something  similar  was  brought 
before  the  Amateur  Society  of  New  York, 
and  reported  in  November  Times  and 
Bulletin. 

It  has  supplied  me  with  something  of 
which  I  have  felt  the  need,  and  I  hope 
some  other  brother  may  try  it  and  have 
like  success. 

I  have  recently  been  troubled  with  mot- 
tled effect  on  my  negatives — sometimes  so 
bad  that  I  could  not  print  from  them.  1 
was  very  careful  to  wash  thoroughly — used 
Cramer's  plate,  and  his  late  pyro  and  sali- 
cylic acid  developer  as  given  with  every 
box  of  plates.  I  think  perhaps  it  comes 
from  using  developer  when  getting  a  trifle 
old.  It  is  more  apt  to  occur  with  the 
second  plate  developed  in  the  same  solu- 
tion. After  fixing  the  plate  in  soda  and 
alum,  I  wash  well  and  then  lay  it  in  a 
solution  of  alum  and  oxalic  acid,  which 
generally  removes  the  mottled  appearance. 
If  anyone  has  been  troubled  this  way,  and 
can  help  me  to  avoid  it,  I  shall  feel  greatly 
obliged. 

M.  P.  Brown. 

MEASUREMENT    OF   THE  SPEED 
OF  PHOTOGRAPHIC  DROP- 
SHUTTERS. 

BY   W.    H.    PICKERING, 

Photographic  Laboratory,  Massachusetts  Institute  of 
Technology. 

The  usual  method  adopted  for  this  pur- 
pose depends  on  photographing  a  white 
clock-hand  revolving  rapidly  in  front  of  a 
black  face.  The  chief  difficulty  in  the  case 
is  to  maintain  a  uniform  rotation  at  high 
speed.  To  avoid  this  difficulty,  and  to  de- 
termine the  uniformity  of  exposure  of  any 
particular  shutter  under  apparently  like 
circumstances,  the  following  method  has 
been  suggested.  In  carrying  out  the  ex- 
periment in  practice,  I  have  had  the  assist- 
ance of  Mr.  J.  0.  Ellinger. 

A  tuning-fork,  b,  with  a  mirror  attached 
to  the  side  of  one  of  the  prongs,  is  placed 
in  front  of  the  camera-lens.  This  mirror 
is  so  arranged  as  to  reflect  into  the  camera, 
c,  a  horizontal   beam  of  sunlight,    which 


before  reaching  the  fork,  has  passed 
through  a  hole  in  the  screen,  s,  placed 
about  ten  feet  distant.  This  produces  on 
the  ground-glass  a  minute  brilliant  point  of 
light.  If  the  fork  be  set  vibrating,  the 
point  will  become  a  short,  fine  horizontal 
line ;  if  the  fork  be  rotated  about  its  longi- 
tudinal axis,  the  line  will  become  a  sinu- 


soidal curve  described  on  the  circumfer- 
ence of  a  circle  of  long  radius.  A  photo- 
graphic plate  is  now  inserted  and  the  drop- 
shutter  attached.  On  releasing  the  latter, 
it  will  be  found  that  a  portion  of  the  sinu- 
soid has  been  photographed,  and  the  pre- 
cise exposure  may  be  determined  by  count- 
ing the  number  of  vibrations  represented  on 
the  plate. 

The  mirror  employed  should  be  some- 
what larger  than  the  lens  to  be  measured, 
so  as  to  cover  its  edges  during  the  whole 
exposure.  The  mirror  may  be  glued  di- 
rectly to  the  prong  of  the  fork  with  strong 
carpenter's  glue,  after  first  scraping  off"  a 
little  of  the  silvering  at  the  edges  of  the 
glass.  The  rate  of  the  fork  is  then  de- 
termined, by  comparison  with  a  standard 
fork,  by  the  method  of  beats. 

IMPROVED  DEVELOPER  FOR 
GELATINE  PLATES. 

At  a  recent  meeting  of  the  Society  of 
Amateur  Photographers  in  this  city,  Mr. 
H:  J.  Newton  gave  the  following  formula 
fur  a  developer  well  adapted  to  bring  out 
fully  the  details  in  a  plate  which  has  had  a 
very  short  exposure : 

No.  1. 

Water 1  ounce. 

Carbonate  of  Soda,  .         .         .15  grains. 

Yellow  Prussiate  of  Potash,      .     15       " 

Sulphite  of  Soda,       .         .         .       5       " 
No.  2. 

Water,        .....       1  ounce. 

Chloride  of  Ammonium,   .         .       7  grains. 

Pyro  (dry),         ....       6        " 


THE    PHILADELPHIA    PHOTOGRAPHER. 


Nos.  1  and  2  are  mixed,  and  the  whole 
poured  over  the  plate.  Development  com- 
mences within  a  minute,  and  is  usually 
finished  at  the  end  of  three  or  four  min- 
utes. The  proportions  named  above  are 
correct  for  an  ordinary  drop-shutter  ex- 
posure, but  they  are  not  arbitrary ;  they 
may  be  varied  to  suit  different  cases,  as,  for 
example,  should  the  plate  have  been  greatly 
underexposed,  equal  parts  of  Nos.  1  and  2 
(with  the  pyo  Left  out  of  the  latter)  may  be 
added,  a  little  at  a  time,  to  from  three  to 
four  times  the  strength  stated,  until  all  the 
details  in  the  shadows  are  brought  out, 
without  danger  of  producing  green  fog, 
which  frequently  appears  from  the  excessive 
amount  of  ammonia  sometimes  used  in  the 
ordinary  ammonia  and  pyro  developer.  In 
case  of  overexposure,  half  a  grain  to  the 
ounce  of  developer  of  bromide  of  sodium  is 
added,  and  the  solution  diluted  with  water. 

Nos.  1  and  2  solutions  may  be  kept  in  a 
more  concentrated  form,  and  diluted  for 
use.  The  following  are  the  right  propor- 
tions for  10  per  cent,  solutions  : 

No.  1. 

Water,    .....         9J  ounces. 
Carbonate  of  Soda, .       .         .     480  grains. 
Yellow  Prussiate  of  Potash,  .     480        " 
Sulphite  of  Soda,   .         .         .160       " 

No.  2. 

Water, 9  ounces. 

Chloride  of  Ammonium,       .     510  grains. 

Solution  of  one  drop  of  Sul- 
phuric Acid  in  one  ounce 
Water 1  drop. 

Pyro  (one  commercial  ounce),     437  grains. 

If  No.  2  does  not  change  from  a  purple 
color  to  a  clear  yellow  color  within  an  hour 
after  mixing,  one  or  two  drops  more  of  the 
sulphuric  acid  solution  may  be  added. 

To  prepare  a  developer  of  the  proper 
strength  with  the  above  solutions  for  the 
development  of  a  5  x  8  plate  which  has  had 
a  drop-shutter  exposure  take  : 

Water, 5J  drachms. 

No.  1  solution,        .         .         .     2§         " 

Also: 

Water,    .         .         .         .         .7  drachms. 
No.  2  solution,        .         .         .1         " 

Mix  the  two,  and  develop  in  the  usual  way. 


The  proportions  given  will  be  equivalent  in 
grains  to  those  stated  in  the  first  formula. 

Mr.  Newton  described  some  interesting 
experiments,  which  substantiated  very  for- 
cibly the  value  of  the  developer  for  instan- 
taneous work.  Two  plates  exposed  pre- 
cisely the  same  time,  on  the  same  object, 
were  developed  side  by  side,  one  with  the 
developer  as  prescribed  in  the  directions  of 
the  manufacturer  of  the  plate,  and  the  other 
with  the  above  developer.  With  the  ferro- 
cyanide  there  was  from  a  half  to  a  third 
more  detail  brought  out  in  the  shadows, 
and  development  was  completed  sooner 
than  with  the  prescribed  developer ;  the 
negatives  being  more  brilliant  and  vigorous. 

Plates  were  shown  which  had  been  kept 
for  some  time,  in  which  was  seen  the  mark- 
ing of  the  dividing  mat,  and  a  general  fog- 
giness  proceeding  from  the  same  cause. 
Mr.  Newton  had  discovered  that  by  adding 
a  small  quantity  of  bromide  of  sodium — half 
a  grain  to  the  ounce  of  the  developer — all 
traces  of  fogginess  and  all  indications  of 
metallic  silver  disappeared — the  plates  de- 
veloping clear  and  free  from  such  defects. 
He  advised  the  use  of  the  above  remedy 
where  plates  affected  as  described  were  dis- 
covered. His  theory  of  the  developer  was, 
that  when  the  chloride  of  ammonium  or  No. 
2  solution  was  mixed  with  No.  1,  the  chlo- 
ride of  ammonium  was  decomposed, ammonia 
being  liberated,  which,  acting  in  conjunc- 
tion with  the  yellow  prussiate  of  potash  and 
carbonate  of  soda,  produced  an  extremely 
powerful  developing  agent,  while  the  chlo- 
rine liberated  from  the  chloride  of  ammo- 
nium acted  or  seemed  to  act  as  an  agent  to 
prevent  the  discoloration  of  the  film. 

Mr.  "W.  E.  Partridge  showed  two  nega- 
tives which  he  had  developed  with  the  de- 
veloper, which  were  very  clear  and  of 
excellent  printing  quality.  He  was  much 
pleased  with  the  working  of  the  developer. 
Mr.  P.  C.  Beach  stated  that  he  had  also 
tried  the  developer,  with  satisfactory  results. 
It  acted  very  quickly,  kept  clear,  and  was 
of  a  light  straw  color  by  daylight  when 
first  mixed,  afterward  turning  to  a  cherry 
color.  Pree  ammonia  was  easily  perceived, 
showing  that  the  action  was  similar  to  Mr. 
Newton's  explanation. 

Two  negatives  were  shown  by  Mr.  Beach 


THE    PHILADELPHIA    PHOTOGRAPHER. 


which  had  had  extremely  short  exposures  : 
one  was  developed  with  the  formula  as 
given,  and  was  of  a  dense  greenish-yellow 
color,  the  other  by  a  modification  consisting 
of  the  use  of  a  sulphurous  acid  sulphite  of 
soda  solution  of  pj7ro  in  place  of  dry  pyro, 
as  advised  in  No.  2.  It  had  a  clear,  grayish 
wet-plate  appearance,  and,  in  his  opinion; 
developed  up  better,  although  somewhat 
slower.  In  each  case  an  equal  amount  of 
detail  was  brought  out  in  the  shadows.  A 
sample  of  the  developer  was  shown,  after  it 
had  been  used  in  the  development  of  two 
plates  and  had  been  standing  for  twelve 
hours  ;  it  was  clear,  but  of  a  sherry  color. 


DARK-ROOM  VENTILATION  AND 
OTHER  HINTS. 

The  greater  part  of  the  chemicals  used  in 
photography  throw  off  poisonous  fumes 
when  exposed  to  the  atmosphere.  The 
dark-room  is  generally  the  receptacle  for 
these  articles  and  where  they  are  most  used. 
Therefore,  it  should  be  well  ventilated.  I 
hear  some  say  they  have  heard  that  be- 
fore, and  so  have  I.  But  you  have  not 
always  had  the  plan  put  before  you  how  to 
do  it  and  not  admit  light.  Have  made  two 
boxes  two  feet  square,  outside  measure,  and 
open  at  both  ends.  Have  made  three  light 
partitions,  two  extending  from  one  side  six 
inches  from  either  end,  and  twelve  inches 
apart,  extending  to  within  six  inches  of  the 
opposite  side.  Now  from  this  opposite  side 
and  exactly  between  the  two  put  another 
partition,  extending  to  within  six  inches  of 
the  side  to  which  the  first  two  were  at- 
tached. The  partitions  will  best  be  fast- 
ened to  the  two  opposite  sides  before  put- 
ting the  box  together,  but  it  is  easier  to 
explain  it  as  I  have  attempted  to  do.  Next 
fit  the  boxes  in  two  openings  cut  at  opposite 
points  and  next  to  the  ceiling  of  your  dark- 
room. Put  the  boxes  in  so  that  the  air 
passes  out  at  the  upper  side,  as  it  is  safest 
against  defects  or  strong  light  this  way. 

Try  making  a  good-sized  head  on  a 
black  ground  with  strong  Kembrandt  light- 
ing. Print  the  negative  plain  and  well  in, 
and  after  mounting  and  burnishing  in  the 
usual  way,  cut  with  a  sharp  knife  an  exact 
circle,  head  nicely  balanced.    I  use  the  cap 


to  my  mammoth  lens  for  a  pattern  to  get 
the  line.  Now  coat  the  back  well  with 
nice  paste  or  glue  and  lay  on  a  large  panel 
mount,  bevel  edge,  and  you  will  find  it  to 
look  quite  pretty ;  put  in  your  letter  press 
over  night  and  stand  on  an  easel.  Do  not 
give  your  work  away.  And  do  not  sit 
idle  dark  days  when  your  accessories) 
chemicals,  and  screens,  need  fixing  up. 
And  read.  Take  The  Philadelphia 
Photographer,  if  you  can-'t  do  more.  It 
pays.  Do  not  look  on  the  fine  artistic 
picture  of  some  other  photographer  as  a 
work  of  some  genius.  But  look  at  it  and 
say,  "I  can  do  that,"  and  when  you  have 
tried,  compare,  and  if  it  is  not  up  try  until 
it  is.  Make  your  own  accessories  and  save 
your  money,  as  well  as  train  your  genius. 
Keep  the  corners  clean,  fresh  towels  in  your 
dressing-room,  your  entrance  bright  and 
attractive,  and  a  pleasant  smile  to  every 
one,  and  success  is  yours. 

D.  L.  CORMANY. 


OUR  PICTURE. 

Ie  we  examine  the  works  of  the  great 
masters  of  landscape-painting,  we  shall  find 
that  their  preeminence  consists  in  the  power 
and  beauty  with  which  they  embody  upon 
the  canvas  some  particular  view  in  nature 
which  has  forcibly  impressed  itself  upon  their 
feeling  and  imagination,  and  not  in  the  crea- 
tion of  a  fanciful  ideal  scene  which  never 
had  and  never  can  have  existence.  It  is  no 
exaltation  of  their  powers  to  make  their 
genius  independent  of  nature.  Their  great- 
ness is  in  the  measure  of  their  adherence  to 
the  actual  truth  of  nature,  manifested  to 
them  in  the  power  of  selecting  from  the 
many  phases  that  one  which  most  com- 
pletely expresses  the  idea  dominant  in  their 
mind. 

This  power  is  not  meted  out  in  equal 
measure  to  everyone,  but  he  who  possesses 
it  will  find  in  nature  the  full  realization  of 
his  most  imaginative  conception. 

"  There  is  not  a  moment  of  any  day  in  our 
lives,"  says  Mr.  Buskin,  "when  nature  is 
not  producing  scene  after  scene,  picture  after 
picture,  glory  after  glory,  and  working  still 
upon  such  exquisite  and  constant  principles 
of  the  most  perfect  beauty,  that  it  is  quite 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


certain  it  is  all  done  for  us,  and  intended  for 
our  perpetual  pleasure." 

Who  can  look  upon  the  series  of  beautiful 
pictures  which  it  is  our  delight  to  show  the 
readers  of  our  magazine,  and  not  be  candid 
enough  to  admit  that,  although  actual  tran- 
scripts from  nature,  they  are  pervaded  with 
a  refinement  of  sentiment,  and  a  beauty  and 
vigor  in  the  expression  of  the  idea  intended, 
which  only  the  highest  of  our  modern  land- 
scape painters  possess. 

Truly  the  art  is  in  the  mind,  but  the  real- 
ization of  it  is  in  the  world  about  us. 

"Wings  have  we,  and  as  far  as  we  can  go 
We  may  find  pleasure." 

But  our  art  demands  the  service  of  a  mind 
and  heart  sensitive  to  the  beauties  of  nature, 
without  which  everything  will  be  but  as 
"  blank  ocean  and  mere  sky." 

Yet,  with  characteristic  modesty,  Mr.  H. 
P.  Kobinson,  the  creator  of  these  lovely 
views,  tells  us :  "  It  is  quite  impossible  for 
anyone  who  is  in  the  habit  of  composing  a 
picture  to  help  getting  them  when  he  has 
such  capital  material  to  his  hand.  He 
scarcely  requires  to  have  ready-made  ideas  ; 
ideas,  as  it  were,  jump  upon  him.  Happy 
thoughts  arise  to  him  with  the  greatest 
punctuality.  It  often  happens  that  a  sub- 
ject occurs,  and  is  secured  in  a  few  minutes, 
with  very  little  demand  on  the  skill  of  the 
photographer.  As  an  example,  I  will  men- 
tion one  subject,  for  which  I  can  only  take 
the  credit  of  seeing  it  when  it  happened. 
One  day,  I  could  not  have  the  keeper  who 
usually  attended  me,  and  I  had  to  take  an 
undergardner.  This  man  was  a  pictorial 
treasure.  He  was  old,  and  had  scarcely  been 
further  from  the  estate  than  Mold  in  his  life. 
He  was  essentially  a  happy-looking  old  man, 
and  full  ot  native  wit.  I  had  been  looking 
for  a  view  some  way  off,  and,  returning,  saw 
my  old  man  setting  upon  a  rail  in  the  hedge, 
surrounded  by  the  models,  who  were  chaffing 
him,  in  Welsh  and  English.  They  made  a 
picturesque  group,  and  I  heard  one. of  them 
say,  'He  never  told  his  love.'  Here  were 
subject  and  title  together,  and  were  at  once 
secured. ' ' 

How  many  such  kindred  charming  scenes 
are  daily  passed  unnoticed  by  us  who  are 
not  gifted   with   the   same   artistic   feeling 


which  Mr.  Robinson  has  in  such  preemi- 
nence. 

Let  us  examine  the  individual  beauties  ot 
these  pictures,  all  of  which  breathe  an  air  of 
pure  country  life.  These  scenes  are  laid  in 
Gelli  Gynan,  in  North  Wales,  a  lovely  spot, 
far  away  from  the  smoke  and  rattle  of  the 
railway  train,  surrounded  with  heather- 
covered  mountains  overlooking  the  poetic 
vale  of  Clwydd,  and  half-way  up  the  moun- 
tain a  wild-looking  lake  or  tarn,  the  whole 
country  filled  with  all  the  beauty  which  de- 
lights the  artistic  sense  ;  added  to  all  this  is 
the  charm  of  solitude,  and  freedom  from 
those  prying  eyes  so  annoying  to  the  votaries 
of  our  art. 

Numbering  from  the  upper  left-hand  cor- 
ner across,  the  first  picture  is  called  "  Come 
Along,"  representing  two  graceful  country 
lasses,  calling  to  their  hesitating  companion 
to  wade  across  the  little  stream.  Here  is 
the  cool  freshness  of  a  misty  spring  morning. 
The  sky,  the  water,  the  clouds,  the  dim 
horizon — all  convey  the  same  feeling.  The 
figures  are  so  disposed  in  the  foreground  as 
to  make  them  an  essential  part  of  the  whole 
scene  ;  they  seem  indispensable  to  the  con- 
ception. We  should  miss  much  were  they 
not  just  where  they  are.  Yet  there  is  no  ap- 
pearance of  design ;  they  seem  casually  to 
have  stepped  into  the  scene,  are  going  about 
their  own  business,  unconscious  that  any  eye 
is  gazing  upon  them  with  delight. 

The  next  picture  is  called  "  Feeding  the 
Calves."  The  fine  gray  tone  and  varying 
outline  of  the  hills,  the  conception  of  motion 
in  the  trees  that  extend  their  branches  in  the 
air,  the  dark  foliage  contrasting  with  the 
broad,  clear  light  of  the  sky,  give  a  force  and 
harmony  to  this  composition  which  increase 
the  pleasure  the  longer  we  dwell  upon  it. 
The  beautiful  pastoral  occupation  is  in  har- 
mony with  the  rural  surroundings. 

The  next  picture  is  called  "A  Trespasser." 
We  suppose  these  fair  marauders  have  wan- 
dered upon  forbidden  ground  ;  but  we  are 
delighted  that  they  have  thus  transgressed, 
and  given  us  so  charming  a  picture.  The 
distribution  of  light  and  shade  is  masterly. 
Note  the  beautiful  atmospheric  effect,  and 
softness  and  variety  of  tones  in  the  foliage 
and  sky.  There  is  a  feeling  of  repose  in  this 
scene  which  is  contagious. 


THE    PHILADELPHIA    PHOTOGRAPHER. 


The  next  is  (first  on  second  row)  entitled 
"At  the  Mill-door,"  a  scene  familiar  to 
country  life,  hut  not  the  less  beautiful.  The 
grouping  here  is  just  such  grouping  as  we 
see  in  nature.  There  is  no  appearance  of 
prearrangement,  no  set  posing  of  lay  figures. 
The  subject  flows  naturally  from  the  theme, 
and  the  eye  is  delighted  with  the  unity  of 
the  design.  The  distance,  too,  is  rendered 
with  fine  effect  by  the  interposition  of  a 
single  figure  between  the  principal  group 
and  the  far-off  horizon,  where  the  cow  is 
quietly  grazing  beneath  the  shadow  of  the 
tree. 

The  next  picture  is  "  Beading  a  Notice  in 
Welsh  and  English  upon  the  Mill-door." 
One  of  the  girls,  who  is  evidently  better 
initiated  in  the  mysteries  of  written  lan- 
guage, is  explaining  the  purport  of  the  mes- 
sage to  her  less  gifted  but  equally  inquisitive 
companion. 

"  He  Never  Told  His  Love,"  comes  next. 
Mr.  Eobinson  has  told  us  of  the  genesis  of 
this  exquisite  composition.  This  picture  is 
like  the  beautiful  glow  of  a  calm  summer 
noon.  It  is  the  rest  after  meal-time,  and  the 
old  farmer  sits  upon  the  hedge  to  enjoy  his 
hour  with  the  sprightly  girls  who  have 
gathered  around  him,  telling  of  the  love 
conquests  of  his  youth.  The  eye  seems  to 
wander  at  liberty  over  the  air-clad  field  to 
the  heather  beyond,  and  comes  back  as  from 
a  delightful  journey  to  the  group  in  the  fore- 
ground, whose  utter  freedom  from  care,  and 
abandonment  to  the  delights  of  the  moment, 
make  us  loath  to  depart.  What  can  be  more 
charming  than  the  glimpse  we  have  of  the 
little  stream  upon  the  right,  or  more  beau- 
tiful than  the  broken  sky  above  the  hills  ? 
The  softness  of  the  light  in  this  picture  is 
exquisite.  The  clouds  are  there  for  a  pur- 
pose, and  the  softness  of  the  light  which  is 
diffused  over  the  whole  landscape  is  in  ac- 
cordance. We  have  seen  pictures  in  which 
clouds  have  been  foisted  in  simply  because 
the  photographer  deemed  it  necessary  to  have 
clouds,  while  the  subject  itself  was  bathed  in 
the  full  light  of  a  cloudless  sun ;  but  here, 
the  light  upon  the  scene  is  modified  by  the 
clouds  which  veil  the  sun.  There  are  no 
broad,  heavy  shadows,  but  soft  and  imper- 
ceptible gradations  in  tones. 

The  next  picture  (first  to  left  upon  last 


row)  is  called  "  A  Chat  with  the  Miller."  It 
is  a  companion  to  the  scene  at  the  mill-door. 
The  attitudes  of  the  figures  in  the  foreground 
are  very  expressive,  and  the  good-nature  of 
the  miller,  leaning  out  of  the  window  for  a 
friendly  gossip,  is  admirably  portrayed. 
There  is  much  richness  and  warmth  in  the 
tone  of  this  picture,  and  the  detail  in  the 
foliage  is  perfect. 

The  next  picture  is  called  "  Listening  to 
the  Song  of  the  Birds." 

"  It  seems  a  day — 
One  of  those  heavenly  days  which  cannot  die — 
When  everything  is  in  that  sweet  mood 
When  Pleasure  loves  to  pay 
Tribute  to  Ease  ;  and  of  its  joy  secure, 
The  heart  luxuriates  with  every  living  thing." 

This  picture  is  poetic  in  its  beauty.  There 
is  a  harmonious  blending  of  softness  and 
vigor.  The  arrangement  in  the  masses  of 
the  lights  and  shades  is  unequalled  by  any 
photograph  we  have  ever  seen.  The  re- 
flected lights  from  the  more  highly  illumi- 
nated portions  of  the  picture  mingle  beauti- 
fully with  the  deeper  shadows.  The  distance, 
and  its  relation  to  the  far-off  sky,  is  finely 
rendered.  The  figures  have  all  the  bloom  of 
health  upon  them.  Everything  is  so  true 
and  real,  without  being  vulgar,  so  full  of  all 
the  feelings  and  associations  of  country  life, 
that  we  who  pine,  pent  up  in  city  walls,  are 
drawn  to  such  a  scene  with  a  feeling  of  affec- 
tion. 

The  last  picture  is  the  "  Gelli  Gynan  Mill," 
a  quiet  view,  exhibiting  a  fine  feeling  for  the 
proportions  and  conduct  of  light  and  shade. 

The  photographs  from  which  these  reduc- 
tions were  made  are  12  by  15  inches  in  size. 
They  have  been  sent  to  the  New  Orleans 
Exposition,  where  such  of  our  readers  who 
visit  the  great  world's  fair  now  opened  may 
have  the  pleasure  of  feasting  their  eyes  upon 
their  beauties'. 

Mr.  Bobinson's  negatives  are  upon  gela- 
tine plates.  Our  reproductions  upon  collo- 
dion, which,  though  diminutive,  have  faith- 
fully translated  the  charms  of  the  originals. 
The  prints  are  upon  that  excellent  brand  of 
albumen  paper,  the  N.  P.  A.,  of  Messrs.  E. 
&  H.  T.  Anthony  &  Co.,  No.  591  Broad- 
way, New  York. 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


9 


CONCERNING  THE  OLD  SILVER 
BATH. 

Mr.  E.  L.  Wilson. 

Dear  Sir  and  Friend  :  I  see  by  way  of 
your  journal  that  the  dear  old  "  wet  process  " 
still  has  its  friends  in  the  metropolis  of 
America,  and  that  at  a  meeting  of  operative 
photographers  in  ]S"ew  York,  November 
5,  1884,  they  discussed  the  old  subject  of 
fog  and  acid,  and  I  was  somewhat  amused 
by  the  contradictory  character  of  the  debate. 
I  fear  that  none  of  them  knew  very  much 
about  the  real  secret  of  chemical  fog,  though 
some  good  guesses  were  made.  I  hope, 
therefore,  a  few  suggestions  and  a  few  ex- 
planations from  an  old  hand  at  the  silver 
bath  will  be  found  useful.  First,  let  it  be 
known  that  nitrates  are  compatible  ;  that  a 
silver  bath  will  do  good,  reliable  work,  if  it 
contains  a  considerable  per  cent,  of  nitrates 
of  ammonium,  potassium,  cadmium,  sodium, 
lithium,  cuprous  nitrate,  ferrous  nitrate,  or 
nitrated  organic  matter,  or  either,  or  all  of 
them  at  once  ;  and  that  a  silver  bath  con- 
taining citric  and  nitric  acids  sufficient  to 
redden  instantly  blue  litmus  paper  will  work 
in  every  way  better  than  a  nearly  neutral 
one,  and  with  any  collodin  that  will  work 
in  any  bath,  except  one  made  alkaline  per- 
haps. Second,  that  the  less  doctoring  you 
give  a  bath,  the  better.  Third,  the  silver 
bath  is  the  most  stable  and  reliable  agent 
known  to  photography.  "Why?  The  ni- 
trates of  the  baser  metals  harm  a  bath  only 
by  deceiving  the  operator  as  to  strength 
when  present  in  any  rational  quantities,  be- 
cause they  do  not  require  any  nitrogen  to 
complete  their  composition,  and  cannot  act 
as  a  reducing  agent. 

Free  organic  matters,  as  albumen,  for  in- 
stance, will  cause  fog,  because  they  assist 
the  developer  and  produce  a  rapid  reduction 
of  silver,  which  is  precipitated  nearly  evenly 
all  over  the  plate.  But  when  organic  mat- 
ter has  absorbed  sufficient  nitric  acid  to  com- 
plete a  simple  nitric  compound,  the  same  as 
with  the  ammonium  or  cadmium,  it  no 
longer  causes  fog,  and  furthermore,  from 
long  observation,  I  am  convinced  that  it 
adds  to  the  sensitized  plate  a  quickening 
power  without  the  defects  of  organic  matter 
in  the  developer,  quite  extensively  used  fif- 


teen years  ago.  Do  you  ask  why  plates 
continue  to  fog-if  my  position  or  statement 
is  true?  Well,  it  is  because  too  few  baths 
are  used,  and  too  small  baths  ;  so  that  or- 
ganic matter  is  introduced  much  faster  than 
the  nitric  acid  can  combine  with  it,  and  so 
render  it  compatible  with  the  silver,  and 
the  more  so  the  nearer  neutral  the  bath  is, 
and  the  remedy  is  obvious.  Use  two  to 
four  gallon  baths,  and  enough  of  them  ;  the 
amount  of  work  required  is  the  only  gauge 
I  know.  In  my  practice  I  find  one  bath 
of  one  gallon  one  pint,  and  one  of  two  gal- 
lons, worked  in  conjunction,  to  give  me 
constant  good  work  for  more  than  six 
months  at  a  time  without  even  filtering,  or 
the  addition  of  a  drop  of  anything  except 
plain  silver  solution  (not  iodized),  forty 
grains  to  the  ounce,  to  keep  up  quantity. 

When  a  bath  becomes  charged,  as  it  will 
in  time,  with  too  much  alcohol  from  the 
collodion,  it  will  begin  to  work  unevenly ; 
the  bath  balks  mechanically,  that  is,  the 
water  of  the  bath  no  longer  sufficiently 
absorbs  the  alcohol  and  ether  from  the  collo- 
dion to  allow  the  complete  formation  of  the 
haloid  salts  of  silver,  and  that  spongy 
porous  structure  of  the  film  so  favorable  to 
development  through  and  through.  Such 
a  bath  needs  treatment  to  expel  the  alcohol. 
Take  it  out  of  the  holder  and  filter  it,  to 
remove  the  insoluble  matter  collected  at  the 
bottom  or  in  suspension,  and  evaporate  in  a 
porcelain  dish  over  a  kerosene  or  gas  stove 
to  one-third  of  the  original  bulk;  cool,  and 
add  pure  water  to  reduce  to  forty-two  grains 
to  the  ounce  by  hydrometer  test.  It  will 
become  somewhat  milky,  and  should  be 
filtered  through  Lawton  filtering  cotton, 
packed  in  the  neck  of  the  funnel,  close 
enough  to  secure  perfect  transparency  of 
the  filtrate,  and  to  which  should  be  added 
sufficient  uniodized  silver  solution,  forty 
grains  to  the  ounce,  of  pure  water  (I  use 
that  from  melted  transparencies  kept  bottled 
for  the  purpose),  to  fill  the  holder;  and  if 
you  have  not  neutralized  the  bath  before 
boiling,  or  after,  nor  at  all — for  it  never 
should  be  neutralized — it  will  work  the  first 
dip  splendidly ;  though  if  the  quantity  of 
fresh  solution  added  be  quite  large,  it  may 
show  a  tendency  to  fog  after  a  few  plates 
have  been  sensitized.    If  so,  add  a  few  drops 


10 


THE    PHILADELPHIA    PHOTOGRAPHER. 


of  citric  and  nitric  acid  ;  and,  after  the  acid 
has  had  time  to  act,  it  will  probably  work 
well  and  regularly  until  again  surcharged 
with  collodion  solvents. 

I  have  never  succeeded  in  getting  the 
finest  results  from  an  all  new  bath  ;  I  like 
best  an  old  one  remodelled  as  described.  I 
believe  that  some  organic  matter  incorpo- 
rated (not  mixed)  with  the  silver  serves  a 
beneficial  purpose. 

I  do  not  know  how  much  free  acid  my 
bath  contains,  but  I  do  know  that  it  will 
redden  blue  litmus  quick.  I  think  Mr. 
Black  used  as  much  as  an  ounce  to  the  gal- 
lon of  bath,  but  he  substituted  chloride  of 
calcium  or  magnesium  for  the  usual  bro- 
mide in  his  collodion — about  one  grain  of 
the  chloride  to  the  ounce  of  collodion  ;  and 
such  a  collodion  will  work  with  surprising 
results  in  a  bath  only  slightly  acid.  I  pre- 
fer dried  chloride  of  magnesium  one  grain, 
iodide  of  cadmium  two  grains,  iodide  of 
ammonium  three  grains,  alcohol  half  an 
ounce,  ether  half  an  ounce,  and  about  five 
grains  Anthony's  cotton  for  such  a  collodion. 
To  keep  a  bath  perpetually  in  reliable 
order,  it  is  only  necessary  to  drain  off  the 
alcohol  by  evaporation  as  often  as  needed, 
and  to  keep  up  the  quantity  by  addition  of 
fresh  solutions.  Add  acid  in  sufficient  quan- 
tity if  bath  fog  should  occur,  but  be  sure  it 
is  the  fault  of  the  bath  ;  it  may  be  collodion 
or  developer.  1  make  developer  twenty  to 
thirty  grains  of  iron  to  the  ounce,  according 
to  the  temperature,  60°  to  90°  F.,  using  the 
stronger  for  the  lower  temperature,  and 
one  fluid  pound  of  developer  should  contain 
one  and  a  half  to  two  ounces  of  acetic  acid. 
For  under-exposures,  add  a  little  plain 
stock  solution  of  iron,  made  sixty  grains  to 
the  ounce ;  or  warm  the  thirty-grain  devel- 
oper to  100°  F.  for  over-exposures,  dilute 
with  water,  and  add  a  little  acetic  acid.  I 
am  using  a  modification  of  the  formula  for 
collodion  sent  with  Shering's  celloidin  : 

Iodide  of  Ammonia,  . 
"         Cadmium,  . 

Bromide  of      " 

Anthony's  cotton,        .    72 

Alcohol,       , 

Ether, 

Mix  strictly  in  the  manner  of  the  printed 
formula  sent  with  each  package  of  the  eel- 


•     48 

grains. 

.     32 

" 

.     24 

ii 

to  80 

" 

.       8 

ounces. 

.       8 

" 

loidin,  which  can  be  procured  of  Mr.  D. 
Bachrach,  Baltimore,  Md. 

The  modification  above  is  for  use  with 
Anthony's  cotton,  and  only  relates  to  the 
proportions  of  the  salts.  Shering's  formula 
should  be  in  every  studio,  as  it  gives  the 
best  manner  of  incorporating  the  potassium 
salt  I  have  ever  seen.  I  prefer  to  make  it 
eight  or  ten  days  before  I  need  to  use  it. 
It  keeps  splendidly,  and  he  is  doing  a  small 
business  by  the  wet  process  which  cannot 
use  a  half  gallon  lot  to  the  last  ounce. 


F.  M.  Spencer. 


Mansfield,  Pa.,  Dec.  11,  1884. 


GERMAN  CORRESPONDENCE. 

Photography  in  Germany  —  New  Photo- 
graphic Tracing  Process — Enlargements 
on  Emulsions — Enlargements  on  Canvas 
with  Emulsion — Standard  Sizes  of  Plates 
and  Plate  Holders — Obernetter's  new  En- 
larging Process. 

From  letters  received  from  America,  I 
perceive  that  the  photographic  tracing 
process  is  very  generally  employed.  There 
are  four  or  five  processes.  One  of  the  most 
interesting  is  Chennevier's,  a  combination 
of  the  ink  process  ;  and  the  Arvan  process, 
by  which  positives  are  made  direct  from  posi- 
tives. Albumen  paper  is  sensitized  by  wash- 
ing the  back  with  a  brush,  dipped  in  a  solution 
of  six  parts  of  bichromate  of  potassa  in  one 
hundred  parts  of  water.  To  diminish  ten- 
dency to  rolling,  allow  a  free  margin  around 
the  border.  It  is  then  dried,  and,  if  prop- 
erly done,  presents  a  golden-yellow  color 
Of  course,  this  is  all  to  be  done  in  the  dark. 
If  this  paper  be  kept  some  days  in  a  dark, 
dry  place,  it  is  all  the  better,  inasmuch  as 
the  albumen  upon  the  paper  acquires  a  more 
invaluable  character,  which  condition  is 
more  favorable  to  the  process.  But  care 
should  be  taken  not  to  carry  this  too  far. 
The  original  from  which  the  copy  is  to  be 
made  must  possess  a  certain  degree  of  trans- 
parency ;  for  example,  similar  to  prepared 
drawings  upon  paper.  The  exposure  is  done 
in  an  ordinary  copying  frame.  First,  the 
original  is  laid  down,  then  the  sensitive 
paper  upon  it.     The  exposure  is  continued 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


11 


until  the  image  appears  upon  the  hack  side 
of  the  paper.  After  exposure  the  copy  is 
carried  into  the  dark  and  put  in  water — 
river  or  rain  water — to  dissolve  and  wash 
out  all  the  remaining  soluble  albumen. 
The  copy  is  dried  with  blotting  paper,  and 
washed  over  whilst  damp  with  a  brush  and 
ordinary  ink,  the  border  being  left  again 
free.  Do  not  be  too  slow  about  this  opera- 
tion, or  the  ink  will  dry  during  the  coating. 
Whilst  still  wet,  wash  off  the  ink  by  means 
of  a  stream  of  water,  or  a  brush  dipped  in 
water,  suspending  it  during  the  operation 
at  one  corner.  The  ink  is  easily  washed 
away  from  the  portions  affected  by  the 
light;  but  the  parts  where  the  paper  has 
not  been  affected  by  the  light,  which  is 
indicated  by  the  depressions,  allow  the  ink 
to  take,  and  present  a  copy  of  the  original 
finally.  The  copy  is  laid  in  water  to  dis- 
solve all  remaining  bichromate  of  potassa. 
The  emulsion  process  has  been  applied  in 
a  variety  of  ways  to  the  positive  process. 
Up  to  the  present  all  pictures  which  I  have 
seen  have  a  somewhat  gray  tone,  which 
does  not  hurt  them  when  designed  for  paint- 
ing over.  Enlargements  on  camera  are 
here  prepared.  Herr  Halwas,  for  this  pur- 
pose, has  found  it  practicable  to  rub  over  the 
canvas  with  citric  acid,  and  then  with  bro- 
mide of  silver  gelatine  emulsion,  which  is 
best  effected  by  means  of  a  brush.  Upon 
this  emulsion  the  image,  if  the  negative  is 
large  enough,  is  improved  by  contact  in  a 
copying  frame  and  exposure  to  the  flame 
of  an  ordinary  coal-oil  lamp,  the  time 
required  not  being  more  than  ten  seconds. 
Herr  Jopp  has  in  this  way  also  achieved 
excellent  results.  He  recommends,  how- 
ever, the  following  method  to  deprive  the 
canvas  of  all  substance  of  a  fatty  nature,  and 
to  make  it  dull  for  the  reception  of  the 
image:  First  of  all,  rub  it  with  ammonia, 
then  wash  and  apply  the  citric  acid,  again 
wash,  and  finally  apply  the  emulsion.  If 
it  is  desired  to  have  a  strong  image — which, 
by  the  way,  is  not  necessary  if  it  is  intended 
for  painting,  being  rather  a  disadvantage — 
the  chloride  of  silver  emulsion  should  be 
used. 

Last  year  English  manufacturers  proposed 
uniformity  in  the  stops  of  lenses  and  threads 
of  the   objectives.     A   like   awakening   to 


the  importance  of  a  uniformity  in  sizes  of 
plates  is  at  present  here  occupying  attention. 
At  the  meeting  of  the  Association  of  Ger- 
man manufacturers  and  dealers  of  photo- 
graphic articles,  it  was  determined  unani- 
mously to  adopt  the  following  sizes  for  dry 
plates  as  normal :  9  x  12,  12  x  16,  13  x  18, 
13x21,  18x24,  24x30,  30x40,  40x50, 
50  x  50  ctm.  Each  maker  and  dealer  shall 
make  it  his  duty,  upon  the  sale  of  any  new 
camera,  or  repairing  of  apparatus,  to  urge 
the  selection  of  kits  adapted  to  the  above 
sizes,  so  as  to  surplant  gradually  the  old 
styles.  Until  this  ideal  is  attained,  of 
course  it  will  be  necessary  to  make  the 
usual  sizes  ;  but  to  establish  in  some  meas- 
ure a  uniformity,  the  following  intermediate 
sizes  may  be  made :  10  x  13,  16  x  21,  21  x  27, 
26x31,  29x34,  39x39,  39x47,  etc.  An 
uniformity  in  sizes  of  plates  is  a  consum- 
mation devoutly  to  be  wished  for,  but 
photographers  in  general  will  not  be  dis- 
posed to  exchange  their  present  holders 
for  those  of  the  proposed  new  sizes,  and 
it  will  last  so  long  as  the  uniformity  is 
general. 

The  latest  novelty  of  the  day  is  Ober- 
netter's  (Kupfer  licht  Drucke),  a  photo- 
engraving process,  which  produces  the  most 
beautiful  pictures  or  half  tones,  and  in  the 
simplest  manner.  It  resembles  the  cele- 
brated photograveur  process  of  G-oupil,  but 
has  nothing  in  common  with  it,  Obernetter 
etching  his  pictures  like  Klio  in  Vienna. 
The  Obernetter  process  differs  from  this, 
inasmuch  as  it  does  not  require  any  especial 
etching  liquid,  but  effects  the  etching  by 
the  galvanic  battery  directly  in  the  copper. 
The  pigment  process  is  not  used  at  all. 
The  gelatine  negative  is  in  a  very  simple 
manner  detached  from  the  glass,  and  by 
immersion  in  a  chlorodized  bath  con- 
verted into  a  chloride  upon  the  copper. 
The  effect  is  surprising.  I  witnessed  an 
operation  in  Obernetter's  gallery  ;  the  whole 
was  complete  in  an  hour.  The  degree  of 
depression  which  can  be  obtained  by  the 
baths  is  astonishing,  amounting  to  one  mm. 
The  new  photograveur  process  occupied 
the  attention  of  the  discoverer  more  than  a 
year,  so  now  he  makes  it  public,  having 
overcome  all  the  little  obstructions  which 
the  practical  working  of  any  new  invention 


12 


THE  PHILADELPHIA  PHOTOGRAPHER. 


necessitates.  The  plates  can  also  be  made 
in  steel,  and  from  fifteen  to  twenty  thousand 
impressions  struck  off.  Obernetter  will  not 
sell  the  process,  but  supply  plates,  which 
may  be  printed  from  by  any  copper-plate 
printer.  A  plate  5x8  sells  for  50  marks 
(about  $12).  Yours  truly, 

H.  W.  VOGEL. 


MOSAICS  FROM  MOSAICS. 

Good  gentlemen  and  ladies,  we  come  to 
you  once  more  with  our  annual  presentation 
of  useful  matter  for  your  help,  under  the 
cover  of  Mosaics.  It  is  its  twenty-first  ap- 
pearance. It  is  more  than  usually  good,  we 
believe,  and  you  cannot  afford  to  do  without 
it.  The  pieces  of  color,  and  form,  and  help 
of  which  it  is  composed  average  smaller  in 
size  than  heretofore,  but  there  are  more  of 
them,  and,  therefore,  the  whole  work  will 
be  found  more  attractive.  This  is  all  the 
more  certain,  because  the  skilled  workmen 
who  formed  the  pieces  are  of  unusual  talent, 
and  have  produced  their  best. 

In  photographic  history  there  is  no  in- 
stance recorded  where  so  much  has  been 
given  for  so  small  a  sum  as  is  given  in  Pho- 
tographic Mosaics — 144  pages  for  50  cents. 
A  sort  of  base  is  given  for  the  work  in  the 
Pot-pouri  of  the  Past,  and  then  the  Mosaics 
is  formed  and  completed  by  articles  on  al- 
most every  process  or  question  liable  to  come 
up  in  the  practice  of  our  art  and  our  busi- 
ness. A  few  gems  are  picked  from  the  rest 
— copies  merely — and  given  below  ;  but  to 
get  their  full  value  you  must  see  them  in 
their  original  form,  and  to  accomplish  that, 
as  an  addition  to  your  library,  as  a  daily 
dark-room  companion,  we  are  sure  you  will 
find  Mosaics  for  1885  indispensable.  It  is 
now  ready.  See  the  list  of  articles  in  the 
advertisement,  and  secure  a  copy  before  the 
edition  is  exhausted.  Nearly  three  thousand 
copies  were  sold  before  the  work  came  from 
the  bindery. 

Having  seen  how  rapid  plates  can  be  made, 
we  may  next  inquire  how  rapid  they  should 
be  made  for  portrait  and  landscape  work? 
It  must  never  be  forgotten  that  exquisitely 
sensitive  plates  can  only  be  handled  safely 
in  perfect  darkness.  No  matter  what  ill- 
informed  persons  may  say  to  the  contrary, 


there  is  no  light  before  which  such  plates 
will  not  rapidly  fog.  Therefore,  for  general 
use,  less  sensitive  plates,  say  from  thirty  to 
fifty  times  as  rapid  as  the  ordinary  wet 
plates,  are  far  more  useful. — Prof.  H.  D. 
Garrison,  Chicago,  111. 

Nothing  succeeds  so  well  as  success  ;  he 
who  is  doing  well  can  easily  do  better;  peo- 
ple are  naturally  willing  to  help  those  who 
can  easily  help  themselves ;  the  next  best 
thing  to  a  real,  thriving,  rushing  business  is 
the  outward  appearance  of  such. — E.  E. 
Wood,  St.  Helena,  Cal. 

I  have  found  that  good  prints  may  be  ob- 
tained by  using  for  a  sensitive  bath 

Nitrate  of  Silver,  .         .       3  ounces. 

Nitrate  of  Soda,  .         .  1£    " 

Ammonia,       (more  in  winter)   1  or  2  drops. 

Water,  .         .         .         .30  ounces. 

Keep  the  bath  constantly  up  to  full 
strength  by  adding,  from  time  to  time,  from 
a  sixty  grain  solution  to  the  ounce. 

For  toning,  use  thirty  grains  of  acetate  of 
soda  to  every  grain  of  gold.  Keep  it  ten 
days  before  using.  Never  filter,  but  let  it 
settle,  and  decant  the  clear  portion  for  use. — 
H.  K.  Seybold. 

I  use  a  sponge  to  spread  the  paste  instead 
of  a  brush,  as  it  seems  to  make  smoother 
work ;  and  after  placing  the  print  on  the 
mount  I  cover  it  with  blotting  paper  and 
roll  it  a  couple  of  times  with  a  wooden  roller 
covered  with  cloth.  Of  course,  these  details 
are  "  old  stories  "  to  the  professional  photog- 
rapher, but  they  may  help  some  brother 
amateur  a  little  on  his  way. — Dr.  G.  F.  H. 
Bartlett,  Buffalo,  N.  T. 

Here  is  one  thing  artists  are  often  called 
to  do,  mount  photos  on  cloth  and  burnish 
them.  I  spoiled  a  large  number  before  I 
got  the  process  down  fine,  so  will  give  the 
best  way  I  have  found  :  Take  a  wide  board, 
cover  it  with  cloth  or  paper,  then  stretch  the 
cloth  (bleached  is  the  best)  you  wish  to  mount 
your  print  on,  evenly  tacking  it  in  place ; 
mount  your  prints  on  that,  leaving  an  inch 
or  so  of  spare  cloth  at  one  end  of  each  print ; 
let  them  dry ;  then  trim,  leaving  the  inch 
of  spare  cloth  on  the  end  ;  take  a  cardboard 
larger  than  the  picture,  lay  the  cloth  side  on 
the  cardboard  ;  double  the  inch  of  cloth  over 
the  edge,  holding  well  in  place  until  you  get 
it  started  in  the  burnisher.     With   careful 


THE   PHILADELPHIA    PHOTOGEAPHEE. 


13 


work,  you  will  not  lose  one  in  fifty. — J.  C. 
JMoulton,  Fitchburg,  Mass. 

If  photographers  in  general  would  use  a 
little  more  judgment  in  the  development  of 
dry  plates,  there  would  be  fewer  complaints, 
fewer  failures — more  profit  and  greater  satis- 
faction to  all,  from  the  plate-maker  to  the 
customer  who  gets  the  photographs.  It  will 
never  do  to  condemn  a  plate  because  it  does 
not  happen  to  give  satisfactory  results  by  the 
same  development  and  treatment  that  an- 
other one  gives  all  that  can  be  desired  by. — 
James  Inglis,  Eochester,  N.  Y. 

Now  ask  a  good,  living  price,  strictly  in 
advance,  subscribe  for  The  Philadelphia 
Photographer,  or  some  other  good  book, 
and,  at  the  end  of  six  months,  if  you  don't 
think  more  of  yourself,  do  better  work,  and 
have  a  better  patronage,  I  will  never  climb 
under  the  focussing  cloth  again. — E.  E.  Van 
Epps,  Hanover,  Mass. 

It  is  perfectly  reasonable  to  suppose  that 
the  dry-plate  manufacturer  wishes  his  patron 
to  succeed  in  the  use  of  his  plates.  It  is 
equally  reasonable  to  presume  that  he  will 
tell  him  what  developer  will  give  the  best 
results.  Then  why  not  use  the  best  devel- 
oper ?  Why  pay  dollars  for  plates  and  be- 
grudge the  few  cents  and  the  few  minutes 
that  are  required  to  furnish  the  best  de- 
veloper ? — Dry-plate  Maker. 

Another  excellent  method  for  reduction 
of  intensity  I  have  found  to  be  a  mixture  of 
ferricyanide  of  potassium  (red  prussiate  of 
potash)  and  hyposulphite  of  soda.  I  think 
it  was  first  recommended  by  Parmer,  of 
England. 

Both  solutions  are  of  equal  strength. 
About  one  ounce  of  ferricyanide  to  sixteen 
ounces  of  water,  and  the  same  strength  of 
solution  for  hypo.  The  reduction  is  effected 
gradually  ami  entirely  under  control.  It 
has  also  the  advantage  of  being  employed 
as  a  local  reducer ;  for  this  purpose  all  that 
is  necessary  is  to  pour  over  the  portion  re- 
quiring reduction  with  the  ferricyanide  and 
then  subject  it  to  the  hypo  bath.  I  have 
also  read  in  The  Philadelphia  Photog- 
rapher, of  the  same  solution  being  used 
for  reducing  over-printed  paper  photographs 
with  great  success,  without  affecting  the 
tone  of  the  print  in  the  least.  I  found  it  to 
be  true.— H.  K.  Seybold. 


This  is  an  epoch  of  great  advancement  in 
photography.  Our  journals  are  kept  alive 
by  articles  and  communications  which  tend 
to  improve  the  quality  of  photographic 
work,  but  I  cannot  remember  having  read 
anything  relating  to  the  improvement  of 
photographic  honesty,  and  I  think  that 
needs  looking  after  quite  as  much  as  the 
quality  of  the  work — perhaps  more,  for,  be- 
fore gelatine  plates  came  in,  photographers 
were  making  good  pictures,  but  the  honesty 
and  respectability  of  most  of  the  profession 
was  not  of  the  tintype  standard,  and  with- 
out honor  no  man  can  ever  hope  to  make 
his  calling  respectable,  no  matter  how  much 
so  it  may  be  with  other  men ;  in  his  par- 
ticular instance  it  will  be  degraded  and 
dragged  down  to  his  level. — Harry  C.  Piatt, 
Nantucket,  Mass. 

Not  long  since  a  gentleman  wrote  to  me 
inquiring  how  he  should  proceed  to  blacken 
new  stops  for  his  camera.  As  it  is  a  neat 
workshop  recipe,  which  many  an  ingenious 
photographer  may  like  to  use  sometimes,  I 
will  jot  it  down  for  his  benefit  and  Mosaics  : 

First  clean  the  brass  by  dipping  it  in  di- 
lute aqua  fortis.  Einse  off  the  acid  and  im- 
merse in  the  following  solution  : 


Water, 

3  ounces 

Arsenic,    . 

•     120  grains 

Protosulphate  of  Iron, 

.     120      " 

Dissolve  the  arsenic  by  the  aid  of  heat ; 
add  the  iron.  Let  the  brass  article  remain 
in  the  solution  until  sufficiently  blackened. 
Einse,  and  then  immerse  in  a  solution  of 
sulphuret  of  potassium.  Einse  again  and 
dry  in  sawdust.  Varnish  with  brown  shel- 
lac varnish  and  heat  as  hot  as  the  varnish 
will  stand.  If  a  mat  surface  be  preferred, 
the  varnish  may  be  omitted. — W.  H.  Sher- 
man, Milwaukee,  Wis. 

A  paste  for  sticking  positive  prints  : 

Arrowroot,  1st  quality,     .       3J  ounces. 
Water,  .     28         " 

Gelatine,  in  sheets,  |       " 

Methylic  Alcohol,  2         " 

Concentrated  Phenic  Acid,  12  drops. 

Mix  the  arrowroot  with  seven  ounces  of 
water,  so  as  to  form  a  paste,  then  add  the 
complement  of  water  and  gelatine ;  boil, 
and  finally  add  the  phenic  acid  and  alcohol. 


14 


THE   PHILADELPHIA    PHOTOGEAPHEE. 


Stir  until  a  perfect  mixture  is  obtained. — 
Old  Graybeard. 

There  are  plenty  of  cheap  hands  to  take 
the  places  of  skilful  workmen,  when  the 
latter  will  no  longer  be  trod  under  by  the 
devil — low  prices.  If  this  beloved  art  of 
photography  is  made  to  descend  to  the 
depths  of  a  mere  matter  of  rivalry  of  rates, 
then  we  had  better  look  elsewhere  for  our 
daily  bread.  Give  your  years,  the  best  part 
of  your  life,  friend  workman,  and  have  the 
heart's  blood  wrung  from  you  by  the  out- 
rageous wretch — low  prices  I  Discouraged  ? 
Find  me  a  single  workman  who  is  not  dis- 
couraged as  much,  if  not  more,  than  the 
proprietors,  and  I'll  point  you  out  a  modern 
saint,  who  is  willing  to  be  imposed  upon, 
trod  to  the  dust,  and  lie  there  like  a  shackled 
slave,  not  daring  to  lift  his  voice  for  Mercy, 
sweet  tnercy,  sirs ! — H.  S.  Keller,  Utica, 
N.  Y. 

In  the  first  place,  avoid  scattering  sub- 
jects. By  this  I  mean  subjects  in  which 
there  are  a  great  number  of  objects  spread 
out,  all  of  about  equal  consequence  or  in- 
terest, and  all  receiving  an  equal  amount  of 
light  and  shadow.  In  such  a  scene  the  eye 
is  distracted  when  it  comes  to  view  a  repre- 
sentation of  it  on  a  flat  surface,  owing  to 
each  part  claiming  equal  attention.  The 
observer  is  robbed  of  the  pleasure  resulting 
from  contrast,  the  repose  of  one  passage,  and 
.  emphasis  of  another. 

In  selecting  bits,  as  artists  call  portions  of 
pictures,  picturesqueness,  or  some  striking 
or  peculiar  character,  is  an  important  essen- 
tial. People  generally  overlook,  as  common 
or  vulgar,  many  capital  subjects,  objects 
which  time  and  weather  and  wear  and  tear 
have  angled  and  furrowed  into  pictures,  and 
which  if  caught  under  some  grouping,  or 
effect  of  light  and  shadow  peculiarly  essen- 
tial to  them,  or  most  to  develop  their  pecu- 
liarities, arrest  the  attention  at  once  when 
conveyed  to  paper. — Xanthus  Smith,  Phila- 
delphia, Pa. 

"While  imperfect  washing  may  be  the 
cause  of  some  stains,  yet  I  am  satisfied  that 
the  imperfect  fixing  is  the  prime  cause.  Im- 
perfect washing  of  plates  is  the  cause  of  stains 
on  albumen  paper,  we  having  lost  several 
batches  of  prints  before  we  found  the  cause. 
A  number  of  negatives  were  brought  by  an 


amateur  friend  to  be  printed  from  (un- 
varnished), and  many  of  the  prints  coming 
in  contact  with  those  from  these  negatives 
were  green  with  soda  stains.  Washing 
boxes  should  be  built  of  wood  and  made 
with  as  much  space  below  the  plates  as  is 
occupied  by  the  racks  of  plates  being  washed, 
This  allows  the  hypo  to  fall  to  the  bottom  ; 
and  if  a  siphon  is  used  to  draw  away  the  so- 
lution from  the  bottom  a  more  thorough 
washing  takes  place  than  by  any  other  way. 
A  stream  of  water  running  on  a  plate  will 
not  wash  it  a  tenth  as  well  as  if  the  plate  is 
placed  in  a  dish  or  box  of  water  and  left  to 
soak,  changing  the  water  occasionally  and 
adding  fresh  thereto. — "William  H.  Kau, 
Philadelphia,  Pa. 

The  preeminence  of  the  great  masters  in 
art,  whose  works  still  live  to  delight  us  with 
their  freshness — for  nature  is  never  old  or 
stale — depends  not  on  any  fantastic  excel- 
lency having  no  existence  but  in  their  own 
minds,  but  in  the  vigor  of  selection  and  the 
embodiment  of  some  particular  phase  of  na- 
ture which  has  impressed  itself  upon  their 
feelings. 

Such  work  has  a  cool,  refreshing  air,  which 
stimulates  the  mind  to  an  activity  of  thought 
and  feeling  akin  to  that  which  engendered  it. 

Taste  consists  wholly  in  the  possession  of 
this  feeling,  this  sense  of  the  beautiful.  It 
is  not  vouchsafed  to  everyone.  He  who 
possesses  it  will  find  its  full  realization  in 
nature,  and  not  in  the  depths  of  his  own 
consciousness ;  and  he  who  has  it  not  will 
wander  over  the  universe,  and  yet  be  shut 
up  in  a  nutshell.  Certain  forms  in  nature 
embody  certain  characteristics,  as  of  strength, 
activity,  grace,  repose,  etc.,  and  the  artistic 
sense  is  the  exercise  of  the  mind  in  the  se- 
lection of  any  particular  embodiment  of  the 
idea. — John  Bartlett,  Philadelphia,  Pa. 

Some  practical  body  has  proposed  that 
when  great  uncertainty  as  to  exposure  exists, 
the  shutter  of  the  dark  slide  be  pulled  out  an 
inch  at  a  time,  so  that  one  end  of  the  plate 
receives  more  exposure  than  the  other,  with 
gradations  between.  We  can  heartily  com- 
mend this  plan  for  all  such  subjects  as  are 
not  liable  to  great  fluctuations  of  light. 
And  so,  to  answer  the  question  with  which 
we  began,  we  say  that  a  properly  timed 
negative  is  one  where  the  light  has  so  acted 


THE  PHILADELPHIA  PHOTOGEAPHEE. 


15 


that  the  application  of  the  developer  gives 
a  negative  with  a  perlect  seale  of  tone,  from 
clear  glass,  in  the  darkest  parts,  to  chemical 
opacity  in  the  high  lights. — Ellerslie  "Wal- 
lace, Jr.,  Philadelphia,  Pa. 

Professionals,  amateurs,  laymen,  when 
worn  with  fatigue,  nervous  from  much  con- 
finement at  the  treadmill  desk,  hefore  the 
brain  fires,  or  softens ;  when  the  poisonous 
drug  and  deadly  revolver  begin  to  crowd 
themselves  upon  your  notice  as  possible 
friends,  put  on  your  hat,  shoulder  the  seduc- 
tive camera,  and  take  a  stretch  over  the  fields. 
Swallow  some  country  air ;  take  a  health 
lift  for  the  weary  brain  such  as  the  doctors 
cannot  give. — J.  P.  Eyder,  Cleveland,  Ohio. 

What  developer  shall  we  use?  The  am- 
monia is  the  nearest  in  point  of  time  and 
action  to  the  wet  process,  but  it  is  such  un- 
certain working,  no  two  days  alike.  To-day 
we  can  work,  say,  three  minims  to  the  ounce 
of  developer  with  fair  results;  perhaps  to- 
morrow it  may  demand  five  ;  then  look  out 
for  foggy  times. — George  Ennis,  Philadel- 
phia, Pa. 

The  artistic  quality  of  the  picture  also  de- 
pends upon  the  proper  rendering  of  the  foli- 
age. Nothing  can  be  so  unsightly  in  a 
picture  as  a  dense  mass  of  foliage,  without 
any  detail  or  half  tones.  It  offends  the 
artistic  eye,  and  will  ruin  a  view,  no  matter 
how  beautifully  rendered  may  be  the  sky  or 
the  rest  of  the  picture.  Indeed,  there  are 
certain  devices  by  which  badly  taken  skies 
may  be  remedied,  but  there  is  no  cure  for 
ill-defined  and  flat  foliage.  To  secure  good 
results  with  foliage,  a  perfect  calmness  of 
the  atmosphere  is  demanded  ;  the  wind  must 
be  still.  A  scene  such  as  Keates  describes 
would  make  a  beautiful  photograph  : 

"  No  stir  of  the  air  was  there ; 
Not  so  much  life  as  on  a  summer's  day 
Robs   not  one  light  seed  from  the  feather'd 

grass, 
But  where  the  dead  leaf  fell  there  did  it  rest." 
— An  Old  Amateur. 


Mr.  Lewis  H.  Bissell,  of  Effingham,  111., 
Mr.  C.  O.Smith,  of  Saybrook,  111.,  and  Messrs. 
C  Heinberger  &  Son,  of  New  Albany,  Ind., 
received  honorable  mention  in  the  local  papers 
of  their  respective  cities  for  the  excellency  of 
their  work. 


STUDY  YOUR  PATRONS  BEFORE 
SITTING  THEM. 

BY  L.  M.  RICE. 

As  a  rule,  it  may  be  truthfully  said  that 
nine  out  of  every  ten  photographers  make 
one  sitting,  at  least,  for  each  patron  before 
thoroughly  taking  into  consideration  the 
case  in  hand.  The  old  plea,  as  an  excuse 
for  hurrying  up,  to  save  the  plate  before 
drying,  will  hardly  be  offered  in  these  gela- 
tine times,  and  the  artist  may  now  take 
ample  time  to  adjust  the  hundred  and  one 
things  that  go  so  far  in  the  patron's  mind 
toward  giving  satisfaction. 

Does  your  sitter  require  a  shadow  or  a 
plain  lighting?  or  a  side  or  a  front  view  ? 
Determine  this  before  sitting.  Is  the  patron 
an  old  man  ?  Do  not  lose  his  individuality 
by  placing  him  in  some  doubled,  twisted 
position,  or  attempt  a  lighting  for  which  he 
is  poorly  fitted.  Study  to  preserve  what  be- 
longs to  him. 

Is  the  subject  a  young  lady?  "Well,  this 
is  something  different,  but  no  less  a  care 
for  previous  study.  Do  not  get  so  com- 
pletely inflated  with  the  idea  that  if  you 
get  an  excellent  chemical  effect,  and  what 
you  conceive  to  be  a  fine  attitude,  that  the 
result  must  necessarily  please  her  and  her 
many  friends.  Kemember  that  this  lady 
has  some  ideas  of  her  own,  and  it  is  not 
necessary  to  make  a  sitting  or  two  before 
learning  this  fact.  A  stray  lock  of  hair,  or 
an  unbecoming  wrinkle  in  her  dress — both 
of  which  the  artist  should  have  seen  and 
adjusted  before  sitting — oftentimes  calls  for 
a  resitting.  The  most  natural  expression  is 
the  one  that  comes  to  all  subjects  without 
thought  of  effect,  and  is  the  one  the  photog- 
rapher should  seek  to  obtain  by  appearing 
easy  and  natural  himself. 

Is  the  subject  a  baby  ?  Study  to  approach 
the  little  one  carefully,  and  in  a  way  that 
shall  win,  not  only  the  child,  but  the  mother 
too.  Do  not  forgot  that  where  the  babies 
are  well  handled,  the  parents  are  sure  to  go. 
The  littles  ones  have  natures  to  study,  and 
the  better  we  understand  them,  the  more 
captivating  will  be  our  success.  Kemember 
that  it  is  not  on  the  surface  of  things  we 
find  our  highest  success,  but  we  should 
study,  study  deeply^  for  these  we  shall  find 
our  reward. 


16 


THE  PHILADELPHIA  PHOTOGRAPHER. 


SOCIETY  GOSSIP. 

Photographic  Society  of  Philadel- 
phia.— Stated  meeting,  held  Wednesday 
evening,  December  3,  1884,  at  No.  31  S. 
15th  Street.  The  President,  Mr.  Joseph 
"W.  Bates,  in  the  Chair. 

The  minutes  of  the  last  stated  meeting 
having  been  read  and  confirmed,  the  Secre- 
tary read  a  report  from  the  Executive  Com- 
mittee, announcing  that  the  old  quarters  of 
the  Society,  at  No.  520  Walnut  Street,  which 
it  had  occupied  for  twenty-two  years,  had 
been  vacated  December  1,  and  that  a  lease 
had  been  secured  for  the  new  room  in  which 
the  Society  was  assembled,  in  accordance 
with  the  resolution  passed  at  the  last  meet- 
ing. Certain  expenses  for  removing  parti- 
tions, plumbing,  carpentering,  etc.,  had 
been  incurred,  and  more  would  be  necessary 
to  furnish  the  room  properly  so  as  to  make 
it  convenient  and  attractive  to  the  members, 
in  order  to  meet  which,  and  avoid  as  much 
as  possible  drawing  on  the  funds  of  the  So- 
ciety, it  was  recommended  that  each  mem- 
ber contribute  to  a  fund  for  this  purpose 
such  amount  as  he  felt  willing  to  pay. 

On  motion  of  Mr.  Coates  the  report  was 
accepted,  with  a  vote  of  thanks  to  the  com- 
mittee for  their  labors,  and  authority  was 
given  them  to  proceed  with  the  furnishing 
of  the  room  according  to  the  suggestions 
made  in  their  report,  and  in  case  the  neces- 
sary amount  was  not  raised  by  subscription, 
to  draw  on  the  treasury  for  what,  might  be 
lacking. 

Messrs.  F.  Francis  Milne,  James  Bramble, 
and  Frank  G.  Cauffman  were  elected  active 
members  of  the  Society,  and  two  names 
were  proposed  for  election  at  the  next  meet- 
ing. 

The  President  announced  the  death  of 
Mr.  Kobert  W.  Learning,  an  active  member 
of  the  Society,  which  occurred  November  9, 
and  Messrs.  John  C.  Browne,  David  Pep- 
per, and  Charles  A.  Pancoast  were  appointed 
to  draft  resolutions  of  regret  for  transmis- 
sion to  the  family. 

Mr.  Browne,  in  view  of  the  growth  of 
the  Society,  moved  that  the  Executive  Com- 
mittee be  directed  to  consider  the  advisa- 
bility of  its  becoming  incorporated;  to 
ascertain  the  cost  thereof,  and  to  report  as 
soon  as  possible.     Carried. 


A  question  in  the  box  asked,  "  In  using 
gelatine  plates,  is  it  better  to  use  very  rapid 
plates  for  all  purposes,  or  to  use  plates  of 
different  rapidities — that  is,  slow  for  land- 
scapes, and  quicker  when  required?" 

Mr.  Wood  advocated  very  quick  plates, 
on  account  of  securing  quickly  changing 
effects  in  landscapes  and  figures,  and  saving 
time  with  poorly  lighted  subjects. 

Mr.  Eau,  though  preferring  slow  plates, 
used  quick  ones  very  largely,  thereby  obvi- 
ating the  difficulty  of  motion  in  foliage. 

Mr.  Bell  recommended  the  use  of  slow 
plates  as  giving  richer  and  more  brilliant 
results,  and  claimed  that  even  with  foliage, 
by  capping  the  lens  during  puffs  of  wind, 
and  making  the  exposure  by  instalments, 
what  motion  did  show  would  be  less  in 
proportion  to  the  whole  exposure  than  was 
likely  where  a  very  short  exposure,  with  a 
quick  plate,  was  given. 

Mr.  Corlies  used  quick  plates  almost  en- 
tirely, and  showed  a  number  of  studies  of 
figures  and  flowers  which  indicated  that 
they  were  equal  to  slow  ones. 

Mr.  Carbutt  thought  that  if  the  emulsifi- 
cation  was  not  carried  to  such  an  extent 
that  density  in  the  negative  was  lost,  that 
quick  plates  were  equal  to  slow,  but  on  the 
whole  would  recommend  for  most  purposes 
those  about  as  rapid  as  his  B  plate. 

Mr.  Browne  showed  some  highly  success- 
ful pictures  of  animals,  mostly  dogs  and 
cats,  taken  by  Mr.  W.  W.  Whiddit,  of 
Newburgh,  N.  Y.,  which  were  much  ad- 
mired. 

Messrs.  Wood,  Bement,  and  Edge  exhib- 
ited some  good  pictures,  those  of  the  latter 
of  children  in  various  interesting  attitudes 
and  occupations,  showing  excellent  artistic 
work. 

On  motion  of  Mr.  Browne,  it  was  decided 
hereafter  to  hold  informal  conversational 
meetings,  at  which  no  business  should  be 
transacted,  on  the  third  Wednesday  evening 
of  each  month,  beginning  in  January,  1885, 
and  the  Secretary  was  instructed  to  include 
notice  to  that  effect  on  the  cards  sent  out  for 
the  regular  meetings  each  month. 

The  President  announced  the  appoint- 
ment of  the  following  gentlemen  on  the 
Committee  on  Election  of  Members : 
Messrs.  H.  T.  Coates,  Frank  Bement,  Jo- 


THE   PHILADELPHIA    PHOTOGEAPHEE. 


17 


seph  H.  Burroughs,  Frederick  A.  Walker, 
Edward  W.  Keene,  William  L.  Springs, 
Galloway  C.  Morris,  Charles  K.  Pancoast, 
and  William  A.  Dripps. 

Adjourned. 

Sixty-seven  members  and  visitors  were 
present. 

EOBERT   S.    KeDFIELD, 

Secretary. 

Eochester  Photographic  Associa- 
tion.— At  the  semi-annual  meeting,  held 
November  3,  1884,  the  following  officers 
were  elected  for  the  ensuing  six  months : 

President,  S.  D.  Wardlow  ;  Vice-Presi- 
dent, S.  Miller;  Secretary,  J.  M.  Pox;  Ex- 
ecutive Committee,  Frank  Knapp  and  W. 
J.  Lee;  Finance  Committee,  Fred  Stone, 
George  Bacon,  and  Willis  Bannister. 
W.  H.  Learned, 

Secretary, 

Philadelphia  Amateur  Photographic 
Club. — A  regular  monthly  meeting  was 
held  at  their  rooms,  907  Filbert  Street,  De- 
cember 15,  with  Mr.  H.  Pusey  in  the  Chair. 

The  usual  routine  business  was  hurried 
through  rather  more  quickly  than  usual,  in 
order  to  witness  some  fine  lantern  slides 
brought  by  Mr.  Pusey  from  England.  He 
also  showed  a  novel  metal  tripod,  the  legs 
being  telescopic,  and  extending  in  a  manner 
very  like  a  twisted  paper  lamp-lighter. 
When  folded,  the  legs  and  top  could  be 
packed  in  a  case  not  much  larger  than  that 
required  for  an  opera  glass. 

Among  the  slides  were  some  by  Mr.  Tay- 
lor, which  were  from  negatives  made  with- 
out the  use  of  camera  or  lens.  His  "appa- 
ratus "  consisted  merely  of  a  cigar  boXj 
with  a  pinhole  at  one  end  and  a  dry  plate 
fastened  at  the  other.  Considering  the 
means  by  which  they  were  produced,  the 
negatives  were  remarkably  sharp. 

Mr.  Walmsley  exhibited  some  fine  Eng- 
lish photographs  of  children  at  the  sea- 
shore, and  a  group  of  hay-makers. 

The  Executive  Committee  announced  for 
the  next  meeting  that  Mr.  Carbutt  had 
kindly  consented  to  deliver  an  address  on 
"Dry  Plates." 

On  motion,  the  meeting  adjourned. 
W.  West  Kandall, 

Secretary. 


Association  op  Operative  Photog- 
raphers, 392  Bowery,  December  3,  1884, 
President  Buehler  in  the  Chair. 

Minutes  of  previous  meeting  read  and 
approved.  Journals  received,  with  thanks. 
A  paper  was  then  read  by  Mr.  Duchochois. 

Mr.  Duchochois  :  I  think  you  will  have 
to  read  this  paper  in  print  before  you  un- 
derstand it.  It  is  very  long  and  tiresome  ; 
but  you  will  find  a  great  deal  of  informa- 
tion in  it.  After  reading  it,  you  can 
take  any  book  on  chemistry  and  be  able  to 
understand  it.  If  the  beginning  were  not 
known,  it  would  be  impossible  to  understand 
it.  If  the  beginning  were  not  known,  it 
would  be  impossible  to  understand  the  rest, 
and  I  was  obliged  to  make  a  long  paper. 

Mr.  Schaidner:  It  seems  absolutely  neces- 
sary that  we  take  the  different  journals  to 
follow  what  has  been  said  at  the  different 
meetings.  It  would  be  impossible  to  sum 
up  what  has  been  said  to-night. 

Mr.  Hallenbeck  :  I  think  the  lecture  has 
been  of  great  benefit  to  the  members  of  the 
Society,  as  it  has  started  them  into  looking 
into  these  matters  more  than  heretofore.  I 
understand  the  subject  much  better  than  I 
did  before. 

Mr.  Forbes :  I  move  that  a  vote  of  thanks 
be  tendered  to  Mr.  Duchochois  for  his  able 
paper. 

Mr.  Koche:  This  paper  to-night  is  merely 
an  introduction  or  explanation  of  the  ma- 
terial we  use.  I  think  this  is  a  very  valu- 
able one,  and  I  would  second  the  motion 
that  we  give  Mr.  Duchochois  a  vote  of 
thanks  for  that  which  has  been  read  before 
us  to-night.     Carried. 

Mr.  Cooper:  I  have  with  me  some  nega- 
tives which  I  showed  to  the  photographic 
section  of  the  American  Institute  last  night, 
demonstrating  a  new  method  of  development 
which  I  consider  of  great  importance  in  se- 
curing the  best  results  from  extremely  rapid 
exposing,  and  it  is  in  the  line  of  a  theory 
that  I  have  hitherto  mentioned,  viz.,  the 
action  of  light  on  the  bromo-gelatine  film. 
This  action  has  the  effect  of  liberating  the 
bromine  and  leaving  the  silver  in  a  par- 
tially oxidized  state.  In  pursuance  of  this 
theory,  I  concluded  that,  as  there  was  free 
bromide  present,  and  as  we  all  know  bro- 
mide or  bromine  has  a  tendency  to  retard 


•2 


18 


THE  PHILADELPHIA  PHOTOGRAPHER. 


development,  the  sooner  we  get  rid  of  it 
the  better,  either  by  washing  the  plate 
very  thoroughly  previous  to  development, 
or  by  using  ten  grains  of  monohydrous  car- 
bonate of  soda.  That  which  is  crystallized 
at  the  boiling  point,  and  containing  one 
atom  of  water  of  crystallization  to  the  atom 
of  soda  forms,  as  I  believe,  bromide  of 
sodium,  which  is  very  soluble  in  water,  and 
is  readily  removed  by  a  slight  washing. 
These  pictures  were  all  made  with  the  drop 
shutter,  and  on  a  day  when  there  was  no 
sunlight — nothing  but  diffused  light.  One 
plate  was  treated  with  the  ordinary  soda 
developer,  the  other  with  the  solution  of 
soda  as  described,  and  subsequently  masked 
and  developed.  The  thinner  one  of  the 
two  took  twice  as  long  to  develop  as  the 
other.  I  made  up  ten  ounces  of  the  normal 
developing  solution,  putting  five  ounces  in 
each  dish.  The  first  plate  was  treated  with 
the  soda,  then  washed  thoroughly,  and 
placed  in  one-half  of  the  solution.  The 
second,  not  washed,  was  developed  in  the 
other.  The  latter  required  twice  as  long 
to  bring  out  the  image,  which  is  much 
thinner. 

Mr.  Buehler :  In  any  case  when  the  ex- 
posure is  a  little  short,  you  would  advise  us 
to  put  the  plate  in  this  solution  first,  in 
order  to  get  rid  of  the  free  bromine  ? 

Mr.  Cooper :  "With  my  short  exposures, 
I  let  the  plate  remain  in  the  solution  longer, 
and  wash  thoroughly,  in  order  to  preclude 
the  possibility  of  doubt  in  regard  to  my 
theory.  I  exposed  a  plate,  putting  half  of 
it  in  the  strong  soda  solution  previous  to 
development;  kept  it  moving  for  about 
thirty  seconds,  washed  it  very  thoroughly, 
and  then  developed  it.  (Plate  shown,  one- 
half  possessing  far  greater  strength  and 
detail  than  the  other.)  These  plates  (two 
more)  demonstrate  two  things.  First,  that 
it  is  possible  to  develop  a  plate  with  pyro- 
gallic  acid,  so  that  experts  cannot  tell 
whether  pyro  or  oxalate  has  been  used. 
Here  is  one  developed  with  pyro  and  one 
with  oxalate.  Both  of  these  also  are  drop- 
shutter  pictures.  One  had  the  full  power 
of  the  oxalate  developer,  with  no  restrainer. 
They  are  absolutely  similar  as  to  color,  but 
that  treated  with  pyro  is  much  superior  in 
delicacy  of  detail.    In  the  case  of  a  negative 


that  is  under-exposed,  I  weaken  the  devel- 
oper one-half  with  water,  and  proceed 
slowly.  Prolonged  washing  under  the  tap 
will  effect  the  same  result  as  treatment  with 
soda,  but  is  necessarily  much  more  tedious. 

Mr.  Koche :  Mr.  Cooper  showed  me  these 
negatives,  but  I  could  not  believe  that  they 
were  made  with  the  drop  shutter  until  I 
proved  it.  They  are  all  negatives  of  the 
roofs  of  buildings  of  dark-brown  color,  and 
therefore  difficult  to  photograph.  I  exposed 
a  plate,  and  forced  the  development  so  far 
with  ammonia  that  it  was  covered  with 
green  and  red  fog  I  then  fixed  and  washed 
it.  Mr.  Cooper  exposed  one  under  the 
same  condition ;  and,  although  it  took  a 
little  longer  to  develop,  he  brought  the  nega- 
tive out  with  complete  detail.  (This  nega- 
tive was  also  shown.) 

Mr.  Buehler  :  I  would  like  to  know,  Mr. 
Cooper,  whether  you  give  the  preference  to 
the  oxalate  or  pyro  developer? 

Mr.  Cooper:  I  would  say  that,  under  cer- 
tain conditions,  either  the  oxalate  or  pyro 
developer  will  afford  excellent  negatives. 
It  is  a  matter  of  judgment  on  the  part  of 
the  operator.  In  bringing  out  unusually 
fine  results,  you  cannot,  I  think,  operate  as 
successfully  with  oxalate  as  with  pyro.  It 
is  not  possible  to  go  beyond  a  certain  point 
with  the  addition  of  iron ;  with  the  pyro 
you  have  unlimited  power.  The  pyro  de- 
veloper is  much  more  potent ;  an  ounce  of 
it  will  go  as  far  as  a  pound  of  iron. 

Mr.  Buehler :  In  case  the  development 
has  been  short,  cannot  the  oxalate  developer 
be  used  by  adding  a  little  hypo  as  success- 
fully with  pyro  ? 

Mr.  Cooper:  lean  accelerate  with  pyro 
just  as  well  as  with  oxalate,  but  I  never  do 
so,  for  the  reason  that  the  action  which 
takes  place  seems  to  be  somewhat  uncontrol- 
lable. Putting  in  one  drop  of  hypo,  I  ob- 
tained a  greatly  accelerated  image.  All 
conditions  being  equal,  that  is,  the  hypo 
solution  being  of  exactly  the  same  strength, 
a  small  drop  entirely  reversed  the  result. 
Instead  of  a  negative,  I  had  a  positive. 

Mr.  Hallenbeck  :  I  would  like  to  know 
why  this  is  so. 

Mr.  Cooper:  The  chemical  change  I  do 
not  understand.  I  will  leave  that  to  those 
who  are  better  acquainted  with  them.  With- 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


19 


out  question,  that  is  the  objection  to  the  ad- 
dition of  hypo  to  the  pyro  developer. 

Mr.  Hallenbeck  :  I  would  like  to  know 
the  reason  it  should  not  be  used. 

Mr.  Cooper :  I  can  give  you  no  better 
reason. 

Mr.  Roche  :  A  standard  formula  for  the 
use  of  hypo  in  connection  with  the  ferrous 
oxalate  developer  was  some  time  ago  pub- 
lished by  Dr.  Eder.  A  later  one  is  as  fol- 
lows:  Water,  one  hundred  and  twenty-five 
ounces ;  hypo,  one  drachm  ;  citric  acid,  three 
drachms.  The  plate  is  immersed  in  this 
solution  for  one  or  two  minutes  previous  to 
developing,  affording  exceedingly  good  re- 
sults. I  had  a  negative  by  Sarony  to  make 
a  transparency  from.  Some  of  the  oldest 
photographers  in  the  city  have  seen  it,  and 
all  thought  it  a  wet  plate  ;  bift  it  is  a  gela- 
tine negative,  developed  with  ferrous  oxa- 
late developer.  The  only  way  by  which  I 
could  tell  was  by  the  peculiar  greenish  color. 
We  all  have  our  favorite  modes  of  working. 
When  full  time  can  be  given,  I  prtfer  to 
use  the  iron  developer. 

Mr.  Power:  The  other  day  I  received  a 
duplicate  order  for  some  imperials.  When 
the  negative  was  taken  out,  I  found  it  had 
turned  yellow  and  was  non-actinic.  What 
was  the  cause  of  this? 

Mr.  Roche  :  The  negative  was  not  prop- 
erly fixed.  If  it  had  been  the  fault  of  the 
development,  the  plate  would  have  been 
entirely  fogged. 

Mr.  Forbes :  The  plate  may  have  been 
taken  out  in  the  light  before  it  was  fixed. 

Mr.  Power :  When  they  were  printed 
six  months  ago,  the  negative  was  clear. 

Mr.  Hallenbeck :  I  have  seen  the  same 
effect  by  using  bichloride  of  mercury. 

Mr.  Cooper  :  The  plate  may  not  have 
been  thoroughly  fixed,  or  it  may  not  have 
been  quite  thoroughly  washed. 

Mr.  Hallenbeck :  Hyposulphite  would 
show  on  the  varnish. 

Mr.  Cooper  :  It  has  always  been  my  idea 
that  hyposulphite  of  silver,  formed  by  the 
solution  of  bromide  of  silver  with  hypo,  if 
not  properly  washed  out,  would  become  dis- 
colored by  light;  not  immediately,  perhaps; 
but  it  would  continue  after  being  once  ex- 
posed. I  have  found  negatives  entirely 
destroyed  when  that  was  the  case.     Nega- 


tives not  properly  fixed,  on  turning  them 
over  and  looking  at  the  back,  generally 
show  a  whitish  effect.  Although  three 
months  old,  the  fixing  bath  removed  this 
discoloration. 

Mr.  Duchochois :  Mr.  Cooper  is  quite 
right.  The  instability  of  hyposulphite  of 
silver  is  well  known. 

Mr.  Buehler  :  There  is  no  reason  why  it 
should  not  come  from  the  prints  being  made 
on  damp  paper.  If  you  print  on  paper  im- 
mediately after  removal  from  the  fuming 
box,  there  will  be  a  deposit  of  nitrate  of 
silver  on  the  negative  which  causes  it  to 
turn  yellow. 

T.  W.  Powers, 

Secretary. 


PHOTOGRAPHY  AT  THE  NEW 
ORLEANS  EXPOSITION. 

What  a  wondrous  change  has  taken 
place  in  the  World's  Industrial  and  Cotton 
Centennial  Exposition  since  our  last  notes 
from  there!  A  world,  indeed,  has  grown 
up  here.  At  first  it  wt.s  like  one  grand, 
undeveloped  photographic  plate.  The  man- 
agement had  the  result  obtained  very  fairly 
planned  in  their  minds,  and  now  it  has 
been  developed  by  the  joint  application  of 
effort  from  every  State  and  Territory  in  the 
Union,  as  well  as  by  almost  every  land  in 
the  universe.  A  marvellous  picture  has 
grown  up  which  will  astonish  the  world  for 
many  a  long  year. 

The  grand  affair  is  not  fully  developed, 
however.  Each  day  it  is  being  strengthened 
and  intensified  and  new  beauties  added, 
until — well,  it  will  not  stop  growing  beauti- 
ful and  wonderful  for  two  months  yet. 

The  buildings  are  not  so  fine  as  those  of 
1876  in  Philadelphia,  but  they  are  far  more 
vast.  The  Main  Building  is  the  most  stu- 
pendous mass  of  sawed  timber  ever  gotten 
together.  Several  forests,  indeed,  were  made 
to  bow  and  bend  and  yield  to  the  axe  and 
saw  before  they  could  stand  erect  again 
under  the  hands  of  the  architect  and  builder. 
But  here  they  are  covering  the  most  mag- 
nificent collection  of  all  things  ever  gathered 
together. 

At  this  writing  the  photographic  section 
is  not  ready  for  the  public.     Neither  will  it 


20 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


be  for  opening  day,  we  fear.  The  cause  is 
an  apparent  one.  The  management  have 
more  than  they  can  attend  to,  and  photog- 
raphy must  wait.  But  it  is  not  alone,  for 
the  doors  of  the  grand  Art  Hall  will  not  he 
unfastened  on  opening  day.  By  the  time 
this  is  read,  however,  both  collections  will 
be  arranged  in  all  their  splendor. 

The  gallery  of  the  Music  Hall,  where  our 
blessed  art  is  to  be  honored,  may  be  com- 
pared to  an  inverted  letter  j^.  Standing  at 
the  mouth  of  the  letter,  photography  would 
be  on  the  left  side  and  reach  back  and 
around  to  the  right  side,  including  the 
whole  of  the  bend  of  the  U.  Through  the 
centre  of  the  gallery  a  line  of  tall  posts  sup- 
ports the  roof.  They  are  thirty  feet  apart. 
Between  them,  leaving  an  occasional  space, 
the  uprights,  upon  both  sides  of  which  the 
photographs  are  to  be  hung,  are  arranged, 
twelve  feet  in  height. 

Additional  space  is  provided  by  the  sides 
of  the  arches  which  support  the  roof  of 
Music  Hall,  and  by  the  roof  supports  of  the 
Main  Building  on  the  left,  all  admirably 
lighted.  In  addition,  cross  sections  may 
be  run  from  right  and  left  of  the  posts. 
"While  these  lines  are  being  written,  the 
noise  of  the  workmen  is  heard  placing  these 
uprights  and  opening  the  cases  of  gems  of 
our  art,  some  of  which  arrived  several  days 
ago.  A  list  of  the  exhibits,  or  any  comment 
upon  them,  would  be  out  of  the  question 
until  they  are  properly  installed  in  their 
places.  There  will  be  a  most  interesting 
variety  and  a  great  quantity,  more  sys- 
tematically arranged,  perhaps,  than  is  pos- 
sible at  our  national  exhibitions. 

Many  who  exhibited  at  Cincinnati  are 
represented  here  by  new  and  beautiful 
things.  Mr.  C.  W.  Motes,  Atlanta,  Ga., 
would  not  let  such  an  opportunity  of  honor- 
ing our  art  go  by,  and  is  finely  represented. 
Mr.  A.  G.  Blanks,  Vicksburg,  Miss.,  has 
been  devoting  his  skill  to  "quick"  land- 
scape work  recently,  and  has  a  number  of 
fine  things  here.  Messrs.  T.  Lilienthal  and 
G.  Moses,  of  this  city,  rival  one  another  in 
their  displays.  The  group  of  the  members 
of  the  Cotton  Exchange  of  New  Orleans,  by 
Mr.  Moses,  one  of  the  first  pictures  hung, 
attracts  a  great  many  visitors.  Mr.  F. 
Gutekunst,   of  Philadelphia,   who  seldom 


fails  to  hold  up  the  hands  of  our  art  on  such 
occasions,  makes  a  superb  display  of  por- 
traits, transparencies,  and  phototypes.  Mr. 
I.  W.  Taber,  San  Francisco,  Cal.,  astonishes 
everybody  by  his  grand  collection  of  por- 
traits, marines,  and  landscapes. 

Here  are  solar  prints  by  E.  Long,  the 
well-known  veteran  in  our  art,  at  Quincy, 
111.  ;  by  T.  H.  McCollin,  Philadelphia,  and 
others.  W.  H.  Jackson  &  Co.,  Denver, 
Col.,  probably  will  have  no  great  rival 
of  their  superb  collection  of  landscapes 
from  new  negatives.  What  marvels  have 
been  made  possible  by  "  the  delectable 
dry!"  Well,  next  month  you  shall  have  a 
detailed  list  of  what  is  hung  by  that  time. 

We  are  permitted  to  say  that  exhibits 
will  be  received  during  January,  since  it  is 
impossible  for  some  photographers,  driven 
during  the  holiday  season,  to  get  their  ex- 
hibits herein  time.  As  the  Superintendent 
of  this  department,  we  want  to  see  our  art 
more  than  honored,  and  hope  generous  pho- 
tographers will  strive  yet  to  win  medals 
and  diplomas  for  the  honor  and  fame  of 
photography. 

The  amateur  effort  must  not  be  over- 
looked. Mr.  F.  C.  Beach,  of  New  York, 
has  worked  up  a  very  creditable  display 
from  among  the  societies,  and  it  makes  a 
grand  feature  in  the  Exhibition. 

But,  as  I  said  in  my  last,  photographic 
representation  is  by  no  means  confined  to 
this  special  section.  When  visitors  come 
here,  they  will  see  photographs  to  the  right 
of  them,  photographs  to  the  left  of  them, 
photographs  to  the  front  of  them,  in  all  di- 
rections. Sometimes  one  party  is  found 
represented  in  two  or  three  sections. 

For  example,  our  friend  Mr.  Thomas 
Pray,  Jr.,  of  New  York,  has  some  pictures 
in  the  collection  of  the  New  York  Amateur 
Society.  Some  of  his  views  are  in  the  Ten- 
nessee State  exhibit,  and  some  of  his  micro- 
scopic photographs  are  in  the  exhibit  of  the 
Smithsonian  Institution,  showing  cotton 
fibres  in  detail.  In  several  of  the  State  ex- 
hibits, photographers  well  known  to  us  all 
have  very  fine  collections. 

To  close,  the  following  extract  from  a 
daily  local  paper,  The  Times-Democrat, 
will  be  found  interesting,  as  showing  how 
much  our  art  has  done  to  make  the  Expo- 


THE   PHILADELPHIA    PHOTOGRAPHER. 


21 


sition  a  success ;  and  yet  a  tithe  has  not 
been  told : 

"In  the  Government  collection,  the 
fourth  division  will  comprise  an  exhibit  of 
methods  employed  for  the  systematic  treat- 
ment and  study  of  the  diseases  and  injuries 
of  soldiers,  with  a  view  to  their  more  effi- 
cient treatment.  Photographs  of  surgical 
cases  in  the  various  stages  will  be  shown, 
also  specimens  from  the  Army  and  Medical 
Museum  and  photographs  of  skeletons  from 
the  same  source,  photographs  of  crania,  casts 
of  stumps,  crania  complete,  photo-micro- 
graphs, by  Dr.  J.  W.  Draper,  taken  in 
1851-52  ;  solar  enlargements  of  photo-micro- 
graphs, by  Dr.  J.  J.  Woodward,  surgeon 
of  the  United  States  Army.  Sixty  trans- 
parencies on  glass  from  photo-micrographic 
work  by  the  same.  Also  sixty  transparencies 
on  glass  from  photo-micrographs  by  Dr. 
George  Sternberg,  United  States  Navy. 
Fifty  transparencies  on  glass  from  photo- 
micrographs made  at  the  Army  Medical 
Museum.  Twenty-four  microscopes  from 
the  Army  Medical  Museum,  illustrating  the 
latest  improvements  in  this  instrument. 
There  will  be  two  hundred  microscopic 
slides  accompanying  the  above.  Two  of 
the  microscopes  will  be  handsomely  mounted 
and  placed  in  the  officeof  Surgeon  McEllery, 
where  gentlemen  of  the  medical  profession 
will  be  permitted  to  experiment  with  same. 
There  will  be  microscopic  sections  on  glass 
by  Prof.  His,  of  Germany. 

"In  division  five  will  be  placed  photo- 
graphic portraits  of  distinguished  surgeons 
of  the  United  States  Army.  In  the  Medi- 
cal Department  there  will  also  be  exhibited, 
and  daily  operated,  an  anthropometric  lab- 
oratory, occupying  a  space  of  36  x  6  feet, 
arranged  by  Sir  Francis  Galton,  P.  E.  S. 
The  object  of  this  anthropometric  laboratory 
is  to  show  to  the  public  the  great  simplicity 
of  the  instrument  and  methods  by  Avhich 
the  chief  physical  characteristics  may  be 
measured  and  recorded. 

"Prof.  Koch's  culture  apparatus  will 
also  be  exhibited,  as  well  as  samples  of 
microorganisms,  growing  on  various  media, 
to  illustrate  culture  methods." 


Have  you  secured  a  copy  of  Mosaics  for 
1885? 


HOW  I  KEEP  MY  PRICE  UP. 

BY   0.    PIERRE    HAVENS. 

While  it  seems  to  be  quite  a  serious 
matter  with  the  photographer  generally,  yet 
it  is  one  of  the  least  of  my  troubles.  Let  us 
look  at  my  business  a  few  minutes,  and  start 
off  with  the  help.  There  are  seven  of  us  all 
told,  of  which  Mrs.  Havens  and  myself  are 
the  head,  she  attending  to  the  sales,  and  I 
the  operating.  No  gallery  can  succeed  with- 
out a  first-class  retoucher.  He,  I  consider, 
is  your  principal  man.  Have  him  the  best 
you  can  get.  Then  a  printer  is  needed  who 
can  get  all  there  is  in  a  negative,  and  pay 
him  well.  Then  a  boy  to  do  nothing  but 
keep  the  place  clean,  and  if  he  attends  to 
his  work  he  will  earn  all  he  gets.  These  I 
consider  important  help,  even  the  boy. 
Now  the  next  is  your  doorway,  or  entrance. 
You  can't  spend  too  much  money  or  atten- 
tion on  it.  Here  your  boy  comes  in  nicely. 
I  have  just  had  show  cases  removed  that 
cost  over  a  $100,  and  put  in  the  back  yard, 
to  be  replaced  by  bent  glass  ones  costing 
over  $850.  Even  the  patterns  had  to  be 
paid  for  extra  to  bend  the  glass  over.  You 
might  say  this  is  useless  expense.  I  don't 
think  so.  It's  one  of  the  ways  of  advertis- 
ing. Why,  as  luck  would  have  it,  one  of 
the  large  bent  glasses  got  cracked  on  the 
passage,  and  everybody  that  came  along 
said,  "  Oh,  what  a  pity  to  have  the  glass 
broken."  Hardly  anybody  thought  of  the 
elegant  cases.  It  was  the  broken  glass  they 
were  looking  at.  The  consequence  was  I 
got  about  one  hundred  dollars  worth  of  ad- 
vertising for  one  broken  glass.  I  have  just 
put  up  at  the  entrance  a  splendid  lamp  to 
burn  all  night,  and  a  mirror  full  length, 
where  the  whole  city  know  they  can  step  in 
to  see  how  their  hat  looks.  So  that  my  out- 
door show  has  cost  me  over  $1200.  You 
will  say  I  have  said  nothing  about  prices 
I  don't  intend  to  say  much.  I  also  make  a 
change  at  the  door  every  few  days,  and 
keep  it  clean ;  have  brussels  carpet  from  the 
street  to  the  operating  room.  It's  all  ad- 
vertisement. 

Now,  what  did  I  hear  only  a  few  days 
ago?  A  lady  was  telling  another,  "  I  have 
got  to  have  some  photographs  taken  to  ex- 
change with  John,  and  as  he  had  his  made 


22 


THE    PHILADELPHIA    PHOTOGRAPHER. 


by  '  Havens  '  I  suppose  I  will  have  to  do 
the  same,  as  I  can't  give  him  a  picture 
made  by  the  '  cheap  process  '  in  exchange 
for  one  of  '  Havens's  '  pictures."  Another 
told,  where  I  could  hear  of  it,  that  she  had 
no  use  for  "  Havens's,  but  it  was  the  only 
place  where  you  could  go  to  and  sit  down  in 
comfort,  showing  in  this  case  that  the  boy 
who  cleans  up  the  place  was  the  responsible 
party  in  her  case.  I  had  probably  looked 
cross  at  the  baby.  But  these  are  all  adver- 
tisements. Have  your  retouchers  where 
your  customers  can  see  them,  and,  if  possi- 
ble, let  them  see  the  printers  at  work,  or  see 
you  develop  the  plate  ;  that  takes  a  big  hold 
of  the  ladies.  Keep  your  dark  room  so  that 
a  lady  with  a  satin  dress  can  see  a  devel- 
opment without  danger  of  getting  it  soiled. 
Have  your  printers  and  the  room  just  as 
clean  as  your  reception  room,  and  then  you 
can  take  a  pride  in  showing  your  customers 
around.  Spare  no  money  in  keeping  your 
place  respectable,  and  don't  let  a  teaspoonful 
of  dirt  be  found  in  the  place.  Show  your 
work  framed  in  gold  frames,  and  have  your 
furniture  plain  and  rich.  Don't  think  you 
can  do  all  the  work  yourself  and  save  the 
retoucher's  wages.  Very  few  photographers 
are  retouchers.  Buy  the  best  of  materials, 
and  plenty  of  them.  Keep  your  work  up 
to  highest  price.  The  brightest  thing  a 
country  artist  did,  who  came  here  for  awhile 
in  opposition  to  me,  was  to  charge  two  dol- 
lars a  dozen  more  than  I  did,  making  his 
price  $10  a  dozen  for  cabinets.  "While  I 
make  cards,  I  never  show  them  unless  asked 
for.  You  look  at  the  c?a^s  of  customers  in 
the  show  case  of  a  cheap  John  gallery,  and 
you  will  see  the  kind  of  trade  he  invites. 
The  be>t  class  would  not  go  there,  and  some 
one  must  have  a  place  where  they  can  go, 
and  why  not  you  ?  If  you  have  your  place 
inviting,  and  charge  more  than  any  of  your 
opposition,  you  are  bound  to  get  the  trade. 
Take  great  delight  in  telling  a  cheap  cus- 
tomer that  may  come  in  that  you  have  not 
made  a  tintype  in  years,  but  that  so  and  so 
makes  them  for  twenty- five  cents  around 
the  corner.  I  have  been  here  twelve  years. 
My  price  was  $8.00  a  dozen  then,  and  has 
never  been  changed.  I  have  plenty  to  do, 
and  no  gallery  for  sale,  in  the  face  of  $3.00 
a  dozen  and  $2.50  for  clubs  all  around  me. 


Yet  I  have  the  reputation  of  being  the 
highest  priced  artist  in  the  State,  and  I  try 
to  keep  it.  So  you  see  I  cannot  afford  to 
reduce.  I  sometimes  tell  a  customer  it 
will  be  just  impossible  to  sit  her  to-day,  as 
it  will  be  several  hours  before  I  will  be 
ready,  and  appoint  a  certain  hour  for  her 
the  following  day.  She  goes  home  saying 
"  What  a  business  he  must  be  doing."  All 
these  things  keep  your  name  before  the 
people,  and  if  you  can  get  that  you  are  all 
right,  even  if  you  have  to  smash  your  own 
show  case  on  the  sly  and  then  offer  a  big  re- 
ward for  the  scoundrel.  While  I  have  not 
said  much  about  prices,  yet  I  have  given 
some  hints  how  I  keep  mine  up  by  having 
the  reputation  of  being  the  highest  priced 
artist  in  the  State,  not  forgetting  to  have 
the  work  fully  compare  with  the  price,  a 
thing  no  one  man  can  do  alone  and  think 
he  is  saving  the  wages  of  good  help. 

THE  CONVERSION  OF  THE  SILVER 
IMAGE  ON  THE  NEGATIVE. 

BY   L.    BELITZKI. 

By  the  above  title  I  wish  it  to  be  under- 
stood that  I  mean  the  changing  of  the  me- 
tallic silver  images,  evolved  during  the 
process  of  development,  into  a  chloride  of 
silver  deposit. 

•  Now,  at  first  sight,  the  advantage  of  this 
may  not  appear,  and  I  may  be  accused  of 
resorting  to  a  species  of  legerdemain  to  en- 
tertain my  readers,  but  let  me  assure  you 
that,  with  a  few  exceptional  cases,  it  is  of 
the  greatest  value,  and  one  which  I  can 
highly  recommend  to  my  colleagues,  espe- 
cially as  it  is  not  only  simple  and  sure,  but 
has  the  great  advantage  over  most  processes, 
as  it  cannot  in  the  least  injure  the  negative. 

Our  experience  with  gelatine  negatives, 
especially  when  they  have  been  strength- 
ened, is  that  they  may  look  beautiful  and 
clear  when  looked  through,  but  when 
printed  copies  are  made  from  them  there 
appear  ominous  spots  upon  the  paper,  which 
necessitate  a  good  deal  of  touching  up  to 
make  them  presentable,  which,  consuming 
valuable  time,  is  a  great  drawback  to  the 
photographer,  especially  when  a  great 
number  of  copies  is  needed. 

Now,  if  such  a  negative  is  carefully  ex- 


THE  PHILADELPHIA  PHOTOGRAPHER 


23 


amined  we  shall  perceive  weak  spots  of  a 
yellow  color  corresponding  to  the  white 
spots  upon  the  printed  copies.  No  doubt, 
as  some  have  remarked,  these  spots  are  to 
he  traced  to  the  insufficient  washing  of  the 
negatives,  which  make  their  appearance  on 
intensifying,  the  hypo  not  being  thoroughly 
eliminated  from  the  film.  Or  it  may  arise 
from  imperfect  fixing,  or  in  not  sufficiently 
moving  the  intensifying  fluid  during  the 
process  of  strengthening,  causing,  in  addi- 
tion to  these  spots,  cloudiness. 

Sufficient  care,  of  course,  will  prevent 
the  occurrence  of  such  phenomena,  but  in 
practice  it  is  not  always  convenient  to  work 
undisturbed  upon  any  one  subject,  and  when 
the  spots  do  come  it  is  well  to  be  able  to 
know  how  to  attack  them.  Moreover, 
when  the  originals  from  which  the  nega- 
tives are  taken  are  weak  it  is  often  neces- 
sary to  subject  the  negative  to  a  sort  of 
inquisition ;  to  torture  it  until  it  becomes 
better  and  has  the  requisite  strength.  Nov/ 
these  processes  frequently  give  the  negatives 
a  color  and  tone  so  very  bad  for  copying  pur- 
poses, that  any  means  to  improve  them  will 
be  thankfully  received. 

Now  let  me  here  say,  in  treating  such 
spotty  negatives  the  process  of  changing 
them  to  a  chloride  of  silver  is  of  the  highest 
value,  inasmuch  as  the  spots  will  entirely 
disappear.  Proceed  in  the  following  man- 
ner: The  intensified  or  not  intensified  nega- 
tive is  laid  dry  in  a  dish  and  covered  with 
the  following  solution: 

Five  per  cent.  Alum  Solution,     .       1  litre. 

Bichromate  of  Potassa,        .         .     10  grains. 

Chemically    Pure    Hydrochloric 
Acid, 20      " 

These  chemicals  may  be  dissolved  in  pure 
water  instead  of  the  alum  solution,  but  then 
there  is  danger  of  producing  frills  from  the 
acid. 

Allow  the  negative  to  remain  in  this  so- 
lution until  it  becomes  thoroughly  yellow, 
which  usually  occurs  in  a  few  minutes. 
Wash  next  thoroughly  under  a  cock  until 
it  becomes  colorless;  when  looked  through 
appears  gray.  Next  carry  the  negative  into 
the  light  room,  or,  best  of  all,  in  the  sun, 
and  let  it  be  exposed  a  few  minutes.  If  now 
the  chloro-silver  image  is  laid  in  the  oxalate 
developer  it  will  become   black   in   a  few 


minutes,  because  it  is  reduced  to  the  me- 
tallic state,  and  all  the  green  spots  will  dis- 
appear. The  subsequent  washing  is  effected 
in  a  quarter  of  an  hour. 

The  chloride  of  silver  solution  gradually 
weakens,  and,  in  consequence,  works  slower 
and  slower,  or  not  at  all,  in  time ;  but  it 
may  be  freshened  up  by  the  addition  of 
bichromate  of  potassa  and  muriatic  acid. 

Although  the  transformation  of  a  silver 
image  into  a  chloride  of  silver  image  is  not 
exactly  new,  I  have  not  found  it  to  be  a 
process  generally  employed,  but  I  think 
such  remarks  will  not  be  found  superfluous. 


EXHIBITION  OF  THE  BOSTON 

SOCIETY  OF  AMATEUR 

PHOTOGRAPHERS. 

BY  OUR  SPECIAL  CORRESPONDENT. 

The  idea  of  holding  a  competitive  exhibi- 
tion of  photographic  work  produced  by 
amateurs  originated,  so  far  as  this  country 
is  concerned,  with  the  Boston  Society  of 
Amateur  Photographers,  one  of  our  oldest 
non-professional  organizations.  The  merits 
of  such  a  step  are  quite  obvious,  and  much 
credit  is  due  to  the  projectors.  The  move- 
ment was  inaugurated  a  j^ear  ago,  and  in 
that  friendly  contest  the  Bostonians  were 
beaten  on  their  own  grounds,  the  majority 
of  the  awards  going  to  contributors  from  a 
distance — the  gentlemen  from  Philadelphia 
decamping  with  most  of  the  honors.  The 
second  exhibition,  in  some  respects  more 
creditable  to  the  Society  than  its  predeces- 
sor, was  held  in  the  elegant  and  spacious 
gallery  of  the  Boston  Art  Club,  November 
24  to  27  inclusive.  The  total  number  of 
prints  was  roughly  calculated  at  twelve 
hundred,  many  exhibits  being  tastefully 
framed,  the  rest  mounted  and  suspended  in 
the  usual  manner.  The  standard  of  merit 
of  the  average  exhibit  was  very  high,  but 
many  entries,  especial^  several  labelled  as 
prize  pictures,  were  much  below  the  average, 
and  quite  a  number  displaying  the  greatest 
possible  excellences  received  no  official 
recognition  whatever.  There  were  twenty- 
five  classes,  with  but  one  award  for  each,  so 
that  all  were  on  an  equal  footing,  the  prize 
consisting  in  the  diploma  of  the  Society. 


24 


THE    PHILADELPHIA    PHOTOGRAPHER. 


Landscape.  —  P.  Mawdsley,  Kochester, 
N.  Y.  A  framed  collection  of  6J  x  8J  views 
of  England  and  Wales  ;  fine  subjects  taken 
from  most  effective  points  of  view.  These 
were  striking  for  wealth  of  detail,  surpass- 
ing delicacy,  and  remarkable  softness;  but 
the  last  feature  was  carried  so  far  as  com- 
pletely to  sacrifice  detail  in  the  high  lights — 
the  only  fault  in  the  otherwise  perfect  dis- 
play. It  was  whispered  that  this  exquisite 
porcelain  effect  was  produced  by  some  secret 
process,  this  suspicion  being  partly  attrib- 
uted to  the  fact  that  the  large  mat  covering 
the  edges  of  the  prints,  concealed  the  man- 
ner in  which  they  were  mounted.  Ross 
lens  and  Mawdsley  plates. 

Cloud  Effect. — George  E.  Cabot,  Brook- 
line,  Mass.  A  bold  and  massive  cloud,  only 
a  narrow  strip  of  the  landscape  being  vis- 
ible. Yery  excellent,  but  the  same  cloud 
appearing  in  a  number  of  views  of  the  same 
exhibit,  showed,  perhaps,  a  lack  of  fertility. 
8  x  10  Allen  &  Eowell  plates,  Eoss  lens. 

Snow  Effects. — W.  G.  Eeed,  Boston.  A 
bush  with  icy  vestment,  surrounded  by 
desolate  country.  5x8  Cramer  plate,  Eury- 
scope  lens. 

Surf. — Dr  S.  J.  Mixter,  Boston.  Four 
6£  x  8J-  views  in  a  frame.  Most  superbly 
rendered  in  every  way,  and  fully  deserving 
the  award.     Morrison  lens,  Eockwood  plate. 

Sail. — E.  H.  Lincoln  (professional)  Cam- 
bridgeport,  Mass.  Twenty-four  framed 
specimens  of  his  well-known  skill,  peerless 
in  execution,  valuable  studies,  and,  above 
all,  hard  to  beat.  No  particulars  regarding 
materials  employed,  but  plates  probably 
Eastman's. 

Portrait  [Full  Figure). — Wm,  P.  Brig- 
ham,  Boston,  first  President  of  the  Society. 
An  excellent  (back)  view  of  a  well-built 
young  man  standing  on  a  rock,  with  hands 
raised,  ready  to  dive.  Eine  gradations  of 
light  and  shade,  giving  the  true  values  of 
the  anatomical  features.  There  was  no 
class  for  this  sort  of  work,  and  this  picture 
well  deserved  an  account;  but  why  it 
should  have  been  accepted  as  a  "full  length 
portrait,"  when  proper  specimens  of  this 
class  were  available,  remains  to  be  explained. 
Euryscopic  lens,  Carbutt  plates. 

Portrait  (Head).—E.  E.  Belinfante,  Phila- 
delphia.    Laughing  girl,  quite  natural,  but 


possessing  no  other  merit.     Waterbury  lens 
("$10  outfit").     4  x  5  Carbutt  plate. 

Portrait  (Group). — Percival  Lowell,  Bos- 
ton. A  pleasing  group  of  half  a  dozen 
Corean  youngsters,  grouped  on  the  brow  of 
a  hill.  Technically  not  very  meritorious, 
but  one  of  a  large  series  of  views  taken  in 
Corea  under  the  direct  auspices  of  the 
court. 

Animals. — J.  C.  Lee,  Boston.  A  yoke 
of  oxen  attached  to  a  cart.  Yery  well  done. 
Euryscope  lens,  5x8  Eastman  plate. 

Flowers. — George  B.  Wood,  Philadel- 
phia. A  very  excellent  platinotype  of  Hol- 
lyhocks, but  not  superior  to  "Apple 
blossoms "  in  the  same  collection ;  both 
showing  an  artist's  hand  and  mind. 

Trees. — Wm.  E.  Cabot,  Brookline,  Mass. 
A  very  inferior  group  of  trees;  no  attempt 
at  composition.     Size,  about  8  x  10. 

Transparencies. — J.  M.  Jordan,  Philadel- 
phia. 8x10  view  on  the  Wissahickon. 
Eull  of  detail,  rich  and  warm  in  tone,  and 
subject  well  chosen.  Carbutt  "A"  plate. 
No  other  transparencies  were  visible,  no 
arrangements  having  been  made  to  display 
them. 

Lantern  Slides. — E.  F.  Wilder,  Boston. 
Twenty-four  specimens  of  the  usual  size  in 
four  frames.  By  direct  inspection  they  ap- 
peared to  possess  all  the  merits  of  a  first-rate 
slide.  The  only  entry.  Carbutt's  "  A  " 
plate. 

Microscopic. — Wm.  H.  Pickering,  Boston. 
Eive  specimens  of  diatoms,  twenty  (?)  diam- 
eters.    Beck  lens,  Allen  &  Eowell  plate. 

Stereoscopic. — Wm.  P.  Brigham,  Boston. 
A  frame  of  three  dozen  prints,  therefore 
not  available  for  critical  inspection  through 
a  stereoscope. 

Machinery. — George  H.  Eaton,  Boston. 
A  5  x  8  view  of  a  locomotive.  Yery  ordi- 
nary, indeed.  Darlot  E.  H.  lens,  Carbutt 
plate. 

Manufactured  Objects. — Edward  Cohen, 
Philadelphia.  Bric-a-brac,  one  of  an  ex- 
ceedingly interesting  and  clearly  executed 
series.     Beck  lens,  4x5  Monroe  plate. 

Copies. — E.  H.  Wilder,  Boston.  A  superb 
enlargement  of  the  "  Natural  Bridge,  Vir- 
ginia," from  a  5  x  8  negative,  a  print  from 
the  latter  being  in  close  proximity.  Eury- 
scope lens,  Beebe  plate. 


THE   PHILADELPHIA    PHOTOGRAPHER. 


25 


Architecture  {Exteriors).  —  Wilfred  A. 
French,  Boston.  A  5x8  view  of  "  Chet- 
wold,"  a  beautiful  villa  at  Bar  Harbor, 
Maine.  Technique  faultless,  and  picture 
effectively  composed.  This  was  one  of  a 
framed  series  of  twelve  Mt.  Desert  views, 
forming  a  most  attractive  display.  Wide 
angle  Euryscope  lens,  Carbutt  plate. 

Architecture  {Interiors). — Arthur  S.  John- 
son, Boston.  A  very  ordinary  5x8  view 
of  an  elegantly  furnished  room.  Showed 
lack  of  technical  and  chemical  experience. 
Darlot  wide-angle  lens,  Eastman  plate. 

Compositions  {Hay -making). — George  B. 
Wood,  Philadelphia.  A  little  girl  reclining 
on  a  mass  of  hay,  her  right  hand  holding  a 
rake.     A  most  charming  composition. 

Happiness. — George  B.  Wood.  A  couple 
leisurely  walking  along  a  wooded  path,  and 
engaged  in  a  lively  flirtation.  Their  heads 
are  shaded  by  a  parasol  gallantly  carried 
by  the  swain.     Mr.  Wood  is  an  artist. 

Indecision. — George  B.  Wood.  A  boy 
reaching  out  his  hand  to  a  girl  companion, 
both  on  the  smooth  pebbles  of  a  brook,  but 
she  undecided  whether  to  cross  or  not.  The 
idea  is  a  good  one  on  the  part  of  the  artist, 
but  the  execution  far  from  good.  No  lens 
or  plate  given  to  above  three  pictures. 

Entire  Collection. — Wm.  P.  Brigham. 
Eight  frames,  embracing  prints  of  a  great 
variety  of  subjects,  including  flowers,  ath- 
letic studies,  and  Guatemala  views  of  much 
excellence. 

We  cannot  close  this  notice  without  refer- 
ring to  a  number  of  exhibits,  which,  with 
few  exceptions,  possessed  even  greater  merit 
than  the  "  prize  pictures.  It  would  be  dif- 
ficult to  overpraise  the  exhibit  of  Mr.  J.  E. 
Dumont,  of  Kochester,  N.  Y.  One  frame  con- 
tained seven  6  J  x  8|  views,  scenery  of  North- 
ern New  York,  which  were  rendered  with 
exquisite  delicacy  of  effect,  rich  and  well- 
defined  detail,  transparent  shadows,  and 
no  loss  of  texture  in  the  high  lights.  A 
second  frame  displayed  a  series  of  skilfully 
executed  instantaneous  views,  surpassed  by 
none  in  the  hall.  Of  a  high  but  different 
style  of  excellence  were  two  frames  of  su- 
perb 5x7  views  by  R.  S.  Redfield,  illus- 
trating the  attractions  of  Seal  Harbor  (Mt. 
Desert)  and  Atlantic  City.  The  micro- 
photographs  of  Dr.  E.  R.  Andrews,  Cam- 


bridge, Mass.,  were  the  finest  on  exhibition, 
and  among  the  best  we  have  ever  seen. 
They  represented  vascular  dentine  —  the 
various  stages  of  the  development  of  a 
human  tooth,  magnified  from  400  to  1000 
diameters.  Miss  E.  L.  Coleman,  Boston, 
contributed  a  very  large  collection  of  un- 
mounted specimens,  ranging  from  4  x  5  to 
6J  x  8J,  and  covering  nearly  every  field  in 
photography.  They  fully  exemplified  her 
skill,  taste,  and  enterprise,  and  were  we 
personally  well  acquainted  with  the  lady, 
we  could  form  no  higher  opinion  of  her 
mental  and  executive  abilities.  Mr.  F.  A. 
Greenleaf,  of  Montana,  served  up  the  won- 
derful scenery  of  the  far  West  in  a  most 
attractive  and  exhaustive  manner,  gaining 
abundant  applause  for  his  taste  and  skill. 
One  of  the  gems  on  exhibition  was  a  11  x  14 
print  of  the  "Waverly  Oak,"  effectively 
and  appropriately  framed,  by  Wilfred  A. 
French.  Its  delicate,  yet  sturdy  beauty, 
touched  riot  the  hearts  of  the  jury.  A  col- 
lection of  "Old  Homesteads,"  dating  from 
1628  to  1775,  by  the  same  gentleman,  proved 
a  most  interesting  and  attractive  feature. 
The  value  and  excellence  of  this  series  were 
the  subject  of  an  article  in  the  November 
issue  of  this  journal.  The  exhibits  of  C. 
B.  Pancoast,  Frank  Bement,  S.  F.  Corlies, 
J.  M.  Jordan,  and  J.  C.  Bullock,  all  Phila- 
delpbians  ;  also  of  J.  C.  Lee,  A.  L.  Plymp- 
ton,  E.  A.  Josslyn,  and  Miss  Isabel  B. 
Hooper,  of  Boston,  deserve  the  highest 
praise  for  their  many  and  varied  excellences, 
but  we  regret  not  having  the  space  they 
richly  deserve.  We  hear  that  the  Society 
will  continue  these  interesting  exhibitions, 
and  we  are  convinced  that,  as  experience 
is  the  best  teacher,  the  third  of  a  series  so 
well  begun  will  leave  nothing  to  be  desired 
as  regards  the  selection  of  a  more  competent 
jury- 


ABOUT  PORTRAITS. 

Success  in  photography  does  not  depend 
solely  upon  technical  skill.  If  a  picture  is 
sharp  all  over,  full  of  detail,  well  lighted, 
and  of  a  good  tone,  it  is  too  often  pro- 
nounced by  the  photographer  perfect,  while 
to  the  artist  it  may  be  soulless  and  of  small 


26 


THE   PHILADELPHIA    PHOTOGEAPHEE. 


worth.  Something  more  is  demanded  than 
technical  excellency,  and  we  rejoice  daily 
that  photographers  have  come  to  a  realiza- 
tion of  the  artistic  demands  of  a  good 
picture.  These  demands  are  great,  we  are 
willing  to  admit,  but  that  they  can  be  met 
we  have  abundant  proof  in  the  beautiful 
work  which  photography  has  accomplished. 

How  shall  the  photographer  acquire  the 
power  of  mirroring  in  the  face  of  his  sitter 
the  passions  and  emotions  of  the  soul,  with- 
out which  the  features  are  expressionless 
and  tame.  He  must  exercise  his  power  of 
invention  in  the  same  manner  that  the 
painter  does.  We  believe  that  those  pho- 
tographers who  stand  the  highest  in  the 
profession  to-day  would  have  stood  equally 
as  high  had  they  devoted  their  energies  to 
painting.  The  instruments  they  employ 
may  be  different,  but  the  artistic  spirit 
which  guides  both  is  the  same.  The  one, 
indeed,  may  require  greater  mechanical 
skill,  but  the  inventive  power  is  identical. 

It  is  not  necessary  to  have  beautiful  sub- 
jects to  create  great  work ;  beauty  and 
grace  of  figure  heighten  effect  in  portrait- 
ure, but  are  not  essentials.  Expression 
can  be  called  forth  in  the  plainest  face,  and 
the  photographer  need  not  urge  as  an  ex- 
cuse that  his  subjects  are  common-place 
and  very  prosaic  people.  We  care  not  who 
the  subject  may  be,  it  can  and  must  be  in- 
teresting if  the  photographer  have  the 
genius  to  make  it  so. 

There  is  a  picture  by  Kembrandt  which 
I  remember.  It  has  a  very  prosaic  title, 
and  the  subjects  represented  are  not  re- 
markable for  their  beauty  or  grace.  It  is 
called  "  A  Woman  Consulting  with  a 
Lawyer."  The  expression  of  the  two 
heads  are  earnest  and  serious,  and  no  one 
can  look  upon  it  without  turning  to  it  again 
and  again. 

The  closer  the  photographer  and  the 
painter  cling  to  nature  the  greater  their 
work,  but  both  alike  must  seize  that  mo- 
ment of  time  when  the  subject  is  in  the 
proper  mood. 

The  photographer  to  be  successful  must 
be  a  student  of  human  nuture,  and  must 
use  his  art  to  "print  the  mind's  discern- 
ment on  the  face."  If  he  cannot  do  this,  he 
has  mistaken  his  calling,   and   had   better 


sell  his  camera  and  engage  in  some  handi- 
craft. He  will  only  lower  our  art  to  his 
own  level,  just  as  the  mediocre  artist  de- 
means art  by  his  inferior  productions.  The 
subject  must  be  studied.  I  think  one 
reason  why  many  photographers  succeed 
so  admirably  in  depicting  child  life  is  that 
they  enter  into  the  feelings  of  their  little 
patrons  so  heartily  ;  the  good  nature  and 
naivete  of  a  little  child  are  contagious.  The 
infection  being  caught,  the  photographer 
is  not  satisfied  until  he  makes  a  counterfeit 
presentment  or  bodies  forth  the  feeling 
which  he  himself  has.  The  thoughts  and 
feelings  of  a  child  are  easier  fathomed  than 
the  deep  sea  of  the  passions  and  emotions  of 
grown  folks.  Because  the  task  is  more  dif- 
ficult the  photographer  believes  it  to  be  out- 
side the  limits  of  his  art,  and  allows  the 
painter  to  take  possession  and  to  triumph 
over  the  profession. 

I  have  seen  thought  and  sentiment  as 
truly  conveyed  by  a  photographic  portrait 
as  I  have  in  painting. 

The  eye  must  be  quick  to  perceive  the 
instant  when  the  soul  within  looks  out. 
Lessing,  the  great  German  philosopher 
and  poet,  declares  that  greatness  in  art  is 
the  power  by  which  the  painter  or  sculptor 
seizes  that  instant  of  time  when  the  idea  is 
in  its  perfection.  Its  duration  is  but  for 
an  instant.  It  exists  in  the  subject  and  not 
in  the  mind  of  the  artist,  and  the  power  of 
grasping  that  expression  is  no  more  denied 
to  photography  than  to  painting.  Indeed, 
photography  has  the  power  of  seizing  this 
instant  more  accurately  than  art.  Memory 
must  supply  to  the  painter  what  the  sensi- 
tive film  treasures  for  the  photographer. 

The  power  of  expression  is  not  confined 
to  the  face.  All  the  members  of  the  body 
coordinate  to  express  any  idea  or  feeling; 
everything  is  in  harmony.  Too  often  the 
photographer  is  content  to  secure  a  pleasing 
expression  upon  the  face  and  neglects  the 
proper  part  to  be  played  by  the  hands.  We 
have  seen  many  an  excellent  photograph 
marred  in  this  respect.  The  photographer 
has  tried  to  improve  upon  nature  and  to 
arrange  the  hands  in  a  manner  deemed  by 
himself  beautiful.  The  proper  disposition 
of  the  hands  does  indeed  call  for  the  greatest 
amount  of  judgment.      Too  often    the   ar- 


THE  PHILADELPHIA  PHOTOGEAPHEE. 


27 


rangement  gives  the  impression  that  the 
photographer  was  wofully  troubled  with 
these  unruly  members,  and  would  fain,  be- 
cause they  offended  him,  have  cut  them  off 
and  cast  them  into  outer  darkness.  But 
they  cannot  be  got  rid  of  so  easily;  their 
absence  would  perhaps  do  as  great  harm  as 
their  ungracious  presence.  We  should  re- 
member that  they  are  there,  and  should  be 
there,  and  the  photographer  should  not 
grieve  over  their  presence,  but  rather  glory 
that  he  may  labor  more  abundantly  to 
achieve  greater  results  in  the  end. 

The  proper  disposition  of  the  hands  in  a 
picture  is  often  a  test  of  the  artistic  feeling 
of  the  operator. 

The  hands  in  Eembrandt's  portraits,  as 
in  those  of  Holbein,  do  everything  required 
of  them  in  the  most  natural  and  expressive 
way.  But  Vandyke  gives  an  affected  grace 
to  the  hands. 

The  photographer,  like  the  portrait 
painter,  is  often  called  upon  to  represent 
personal  defects.  Great  skill  is  here  de- 
manded, more  by  the  photographer  than 
by  the  painter,  because  the  brush  can  tone 
down  these  flaws  in  nature.  So  can  the 
pencil  of  the  retoucher;  but  if  you  value 
expression  do  not  smooth  away  entirely  the 
defects. 

Beynolds  was  not  afraid  to  show  that 
Baretti  was  near-sighted,  but  he  has  made 
this  near-sightedness  an  essential  phase  in 
the  delineation  of  the  peculiar  character  of 
the  individual.  Baretti  is  represented  by 
the  great  painter  as  reading,  strongly  mark- 
ing thereby  the  literary  man.  No  doubt 
Beynolds  abated  whatever  malformation 
might  arise  from  peculiar  defects  without 
destroying  the  individuality  of  the  subject. 
Harshness  of  feature,  or  even  positive  ugli- 
ness, may  be  softened  or  diminished  without 
destroying  character. 

We  frequently  hear  the  photographer 
accused  of  idealizing  his  subject  to  such  an 
extent  as  to  destroy  the  true  likeness  of 
things.  The  accusation  is  often  well  founded. 
The  maiden  lady,  fair,  fat,  and  forty,  is  some- 
times retouched  into  a  blooming  girl  of  eigh- 
teen summers.  This  is  not  within  the  bounds 
of  nature.  We  may  soften  down  the  asperi- 
ties of  features,  but  we  dare  not  obliterate 
them.    We  must  consider  them  factors,  and 


our  ability  will  be  measured  by  the  skill  we 
employ  in  accommodating  them  to  positions 
they  are  to  occupy.  It  is  perfectly  legiti- 
mate to  call  to  our  service  all  the  aid  which 
skill  in  the  distribution  of  light  or  manage- 
ment of  angle  of  vision,  may  afford  to  make 
the  whole  subject  pleasing  and  harmonious. 

We  may  urge,  in  conclusion,  the  photog- 
rapher to  be  not  afraid  of  nature.  Do  not 
think  her  too  crude  for  presentation.  Do 
not  try  to  dress  her  to  advantage.  Do  not 
look  at  her  through  a  glass  darkly,  but  face 
to  face. 

There  is  a  little  picture  by  our  own  great 
painter,  Benjamin  West,  which  seems  to 
me  more  effective  than  the  great  paintings 
on  which  he  trusted  to  rest  his  fame.  It 
represents  the  visit  of  the  painter's  father 
and  brother  to  his  young  wife  after  the 
birth  of  her  second  child.  They  are  Qua- 
kers, as  you  know.  They  have  those  very 
unpicturesque  stiff-brimmed  hats  peculiar 
to  their  sect,  but  they  are  veritable  men — 
nature's  noblemen.  Nothing  could  be  more 
beautiful  than  the  expression  of  motherly 
love  upon  the  countenance  of  the  young 
mother  bending  over  the  babe  calmlj7  sleep- 
ing in  her  lap.  She,  too,  is  in  plain  attire. 
Her  little  son,  her  first  born,  is  leaning 
upon  the  arm  of  her  chair.  West  himself 
stands  behind  his  father,  with  his  pallette 
and  brushes  in  his  hand.  There  seemssto 
be  a  soft  stillness  diffused  over  the  whole 
scene.  The  colors  are  sombre,  but  the  dis- 
tribution of  the  light  and  shade  surpasses 
the  grandest  conception  of  his  imagina- 
tion. 

In  this  picture  are  represented  infancy, 
youth,  prime  of  life,  and  old  age,  but  with 
a  harmony  and  beauty  which  is  effective, 
not  from  any  intention  on  the  part  of  the 
painter  (for  we  know  that  he  did  not  value 
this  production  very  highly),  but  simply 
because  it  is  true  to  nature.  Had  West 
set  himself  down  to  the  task  with  the  in- 
tention of  depicting  these  stages  of  man's 
life  he  might  have  labored  more  abund- 
antly and  consumed  greater  time,  exhausted 
greater  energy,  and  produced  a  more  ideal 
picture  ;  but  I  doubt  whether  it  would  have 
been  as  pleasing  compared  with  this  com- 
monplace as  true  to  nature,  and,  let  us  add, 
as  great. 


28 


THE   PHILADELPHIA    PHOTOGTEAPHEE. 


ON  THE    REDUCTION    OF   OVER- 
STRONG  NEGATIVES  OR 
PRINTS. 

The  necessity  of  reduction  too  frequently 
presents  itself  in  the  course  of  our  experi- 
ence with  gelatine  plates.  Sometimes  they 
almost  defy  all  coaxing,  or  even  more  vigor- 
ous treatment,  to  tame  them  down  to  the 
condition  of  respectable  and  law-abiding 
negatives. 

Among  the  many  methods  recommended 
I  have  found  the  following  to  be  the  most 
effectual  in  abating  excessive  energy,  espe- 
cially when  the  density  is  the  result  of 
over-exposure  : 

It  consists  of  a  mixture  of  ferricyanide  of 
potassium  (red  prussate  of  potash)  and  hy- 
posulphite of  soda;  both  solutions  are  of 
equal  strength,  and  are  used  in  equal  quan- 
tities. About  one  ounce  of  ferricyanide  to 
sixteen  ounces  of  water,  and  the  same 
strength  of  solution  of  hyposulphite  of  soda. 
The  reduction  is  gradual  and  entirely  under 
control. 

Now  another  advantage  of  this  mixture 
is  that  it  can  be  used  as  a  local  reducer. 
All  that  is  necessary  is  to  paint  over  with 
a  brush  the  dense  portions,  and  then  im- 
merse the  negative,  after  a  little  while,  in 
the  hypo  wash  and  dry.  If  the  reduction 
is  not  sufficient,  repeat  the  process  until  you 
are  satisfied.  The  beauty  of  this  method 
is  that  it  may  be  applied  to  the  reduc- 
tion of  over  printed  paper-pictures.  Use  it 
in  the  same  way.  The  tone  of  the  paper 
photograph  is  not  hurt  in  the  least,  and  the 
whole  picture  much  improved. 

THIN  NEGATIVES. 

BY   L.    REGNAULT. 

Gelatine  plates  have  many  virtues,  but 
associated  with  these  virtues  are  a  few  fail- 
ings, one  of  which  is  that  they  will  some- 
times, in  spite  of  all  the  care  spent  upon 
them  in  developing,  yield  thin  and  ghostly 
images.  This  tendency  is  greater  in  pro- 
portion to  the  rapidity  of  the  sensitive  sur- 
face, as  it  is  difficult  to  intensify  the  weak 
productions  without  clogging  the  shadows 
and  destroying  the  half  tones. 

I  have  had  very  little  success  with  the 


use  of  mercury  as  an  intensifier,  and  the 
use  of  the  pyrogallate  of  silver  and  the 
ferricyanide  of  potassium  and  uranium  are 
out  of  the  question.  I  prefer  the  use  of  the 
old  method  of  intensifying  with  dilute  hy- 
drosulphate  of  ammonia  or  solution  of  sul- 
phide of  potassium.  These  are  not  the 
most  delectable  compounds  in  the  world, 
nevertheless  the  photographer  should  not 
abandon  them  on  that  account. 

By  the  use  of  either  of  these  chemicals 
there  will  be  no  danger  of  destroying  the 
nice  gradations  of  tone  on  the  negative,  a 
danger  frequently  encountered  with  the  use 
of  the  well-known  intensiners. 

The  solution  must  not  be  too  strong,  and 
it  does  not  make  any  difference  whether  the 
plate  has  been  developed  by  pyro  or  oxalate. 
Neither  is  there  any  necessity  of  so  thorough 
a  washing  of  the  plate  as  is  demanded 
when  we  make  use  of  mercury  for  intensi- 
fying. 

GLEANINGS. 

For  some  time  past  it  has  been  proposed 
to  make  use  of  fish  eggs  for  the  preparation 
of  albumen  on  a  large  scale.  The  eggs  of 
the  cod  and  of  the  mackerel  may,  it  is  said, 
be  used  for  this  purpose.  As  soon  as  the 
fish  arrives  the  eggs  are  removed,  separated 
from  the  membrane,  and  then  submitted  to 
pressure  in  special  apparatus ;  the  liquid  that 
runs  off  is  filtered  and  reduced  to  the  desired 
consistence  in  a  vacuum  evaporating  ap- 
paratus, heated  to  about  45°  C. — Paris 
Moniteur. 

It  is  known  that  India-rubber  tubes,  so 
much  used  in  workshops,  laboratories,  etc., 
are  not  ''mpervious  to  illuminating  gas. 
The  rubber,  vulcanized  or  not,  becomes 
loaded  with  hydrocarbons,  and  the  tubes 
not  only  give  out  a  disagreeable  odor,  but 
they  allow  the  gas  to  escape  and  vitiate  the 
air  of  the  room.  Mr.  Fletcher,  the  skilful 
chemist  and  engineer,  of  Warrington,  has 
just  produced  a  rubber  tube  lined  with  a 
thin  sheet  of  tin-foil,  which  will  remedy 
this  very  serious  evil. 

The  collodion  film,  as  is  well  known, 
may  be  perfectly  fixed  to  the  plate  by  the 


THE  PHILADELPHIA  PHOTOGEAPHEE. 


29 


application  of  a  coat  of  varnish  around  the 
edges,  but  the  same  operation  done  with 
the  gelatine  film  is  not  successful ;  the  gela- 
tine swells  and  raises  the  varnish.  Accord- 
ing to  Mr.  Sebastian  Davis,  this  may  be 
overcome  by  passing,  by  means  of  a  brush, 
around  the  edges  of  a  gelatine  film,  a  sat- 
urated solution  of  chrome  alum.  After  this 
very  simple  treatment,  the  film  will  never 
raise  nor  detach  itself  from  the  edges. 

A  Novel  Application  op  Photog- 
raphy.— In  France,  railway  companies  re- 
quire the  photographic  portrait  of  the  pur- 
chaser to  be  placed  on  the  commutation 
ticket-books,  and  the  post-office  has  pub- 
lished a  notice  that  in  order  to  obtain  reg- 
istered letters,  it  is  sufficient  to  prove  iden- 
tity by  showing  a  photographic  portrait, 
authenticated  by  the  mayor  or  by  a  police 
magistrate.  This  is  another  step  made  by 
photography  in  our  social  and  administra- 
tive customs. 

Development  with  Sodic  Sulphite 
and  Carbonate  op  Soda. — Mr.  Bassano 
says  he  is  well  satisfied  with  this  developer. 
After  having  plunged  a  plate  in  water  for 
a  minute  he  covers  it  with  48  cam.  of  water 
containing  0.4  gramme  of  hypo,  and  3 
grammes  of  sulphite.  After  about  a  minute 
he  adds  6  grammes  of  anhydrous  carbonate 
of  soda.  The  image  is  rapidly  developed, 
having  all  the  qualities  possible,  and  pre- 
sents the  appearance  of  a  negative  made 
by  the  wet  process. 

Durable  Sensitized  Paper. — A  fact 
not  sufficiently  known  by  amateurs,  is  that 
the  tone  of  the  print  depends  in  a  great 
measure  on  the  character  of  the  negative, 
Although  this  truth  applies  in  a  less  de- 
gree to  all  photographic  printing  processes, 
we  will  speak  here  only  of  silver  printing 
on  preserved  paper.  "We  wish  to-day  to 
obtain  violet  tints,  because  we  believe  that 
these  tints  are  more  durable  than  the  brown 
ones.  This  purple  tone  can  only  be  given 
by  strong  negatives,  sharp  in  the  shadows. 
It  is  true,  however,  that  some  papers  lose 
this  tone  in  the  fixing,  even  .  with  the 
best  negatives.  In  this  case  we  would 
have  a  right  to  complain.     Durable  paper 


is  so  convenient  for  amateurs,  that  not- 
withstanding these  objections  it  will  still 
continue  to  be  largely  used.  It  is  easy  to 
obtain  darker  tones  and  more  rapidity  with 
several  kinds  of  these  papers,  by  suspend- 
ing the  sheets  in  a  damp  place  at  the  moment 
of  using.  Their  acidity  is  neutralized  after- 
wards, having  removed  the  nitrate  of  silver 
by  washing,  by  plunging  them  for  a  few 
minutes  in  a  dilute  alkaline  solution  of 
carbonate  of  soda  or  carbonate  of  am- 
monia. 

In  the  establishment  at  Marseilles,  of  Mr. 
Cayer,  one  of  the  most  progressive  printers 
of  that  city,  very  curious  applications  are 
made  of  a  process  for  reproducing  old  prints 
or  any  sheet  printed  with  fatty  ink,  made 
at  any  time,  by  inking  the  original  and 
transferring  it  to  stone.  In  the  process  em- 
ployed by  Mr.  Cayer,  both  sides  of  the 
sheet  may  be  used.  Another  happy  idea 
has  also  been  put  in  practice  in  this  estab- 
lishment. We  know  what  are  .the  tinted 
papers  used  in  typographic  prints.  They 
consist  of  sheets  of  laid  paper  on  which 
are  printed  black  parallel  lines,  very  fine 
and  very  close.  A  network  formed  of 
sunken  lines  cuts,  at  right  angles,  these 
black  lines.  The  drawing  upon  this  paper, 
made  either  with  pencil  or  ink,  can  only  be 
reproduced  by  the  aid  of  photography — it 
cannot  be  transferred  directly  to  stone.  Mr. 
Cayer  prepares  a  similar  paper,  the  black 
lines  on  which  may  be  transferred,  so  that 
when  the  drawing  is  finished  an  immediate 
transfer  on  stone  can  be  made  without 
having  recourse  to  photography ;  we  thus 
have  a  plate  for  lithographic  printing,  and 
even  for  typo-engraving.  This  idea  is  an  ex- 
cellent one.  We  are  assured  that  these  tinted 
papers  thus  prepared  preserve  their  transfer 
properties  for  several  months.  This  im- 
provement deserves  the  attention  of  all 
designers  for  typo-engraving  and  lithog- 
raphy. 

No  one  can  state  with  any  degree  of  cer- 
tainty how  long  a  time,  after  exposure,  one 
of  our  modern  plates  may  be  kept,  but  the 
time  is  evidently  very  considerable.  Dr. 
Berwick  shows  a  view  of  a  cathedral  from 
a  plate  which  he  had  exposed  in  July,  1880, 


30 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


and  which  he  only  developed  in  July,  1884. 
This  print  leaves  but  little  to  desire. 

A  number  of  genre  photographs  have 
made  their  appearance.  That  of  the  "Whist 
Party,"  by  Mr.  W.  Coatesworthe  (whose 
name  appears  for  the  first  time),  indicates  a 
veritable  progress.  In  general  our  best 
productions  in  this  line  are  spoiled  by  the 
introduction  of  too  many  characters — the 
eye  wanders  from  right  to  left  to  the  detri- 
ment of  the  principal  subject.  This  is  an 
artistic  error  from  which  even  our  painters 
are  not  always  exempt.  In  landscape  pho- 
tography this  is  not  remarked,  here  it  is 
nature  itself  that  forms  the  group,  and  the 
result  is  always  perfect.  It  is  sometimes 
difficult  to  distinguish  these  genre  prints 
from  those  which  are  good  reproductions  of 
paintings. 

There  is  again  question  of  photographic- 
ally reproducing  some  of  the  rare  manu- 
scripts preserved  in  the  British  Museum. 
It  is  much  to  be  regretted  that  this  useful 
work  has  not  yet  been  pushed  with  more 
energy,  especially  when  we  think  of  the 
enormous  sums  which  have  been  paid  for 
these  literary  treasures.  Hardly  a  year 
ago  £40,000  were  paid  for  the  manuscripts 
known  as  the  "  Stowe  Papers."  These 
manuscripts  offer,  no  doubt,  great  historical 
interest,  but  nobody  ever  sees  them,  whereas 
if  photography  placed  them,  and  at  small 
cost,  within  reach  of  the  studious  public, 
men  of  letters  would  not  fail  to  derive  great 
advantages  from  them.  It  is,  therefore, 
with  much  pleasure  that  we  at  last  see  it 
announced  that  there  will  shortly  be,  for 
this  purpose,  a  photographic  establishment 
specially  attached  to  the  British  Museum, 
if  the  government  is  willing  to  listen  to 
the  voice  of  the  directors  of  that  important 
establishment. 

The  new  photographic  lens  of  Mr. 
Thomas  Furnell  is  now  attracting  much 
attention,  especially  from  amateur  photog- 
raphers. In  the  reproduction  of  landscapes, 
houses,  or  groups  of  persons,  it  is  necessary 
to  use  lenses  having  a  different  focus.  For 
example,  for  buildings  or  groups  of  animals 


which  are  near  the  photographer,  we  re- 
quire a  short  focus  lens,  whilst  for  objects 
further  off  and  which  include  a  larger  field, 
it  is  r.ecessary  to  use  a  len  with  a  longer 
focus.  Between  these  two  extremes  we 
have,  as  we  all  know,  medium  lenses. 
Now,  Mr.  Furnell  wishes  to  place  in  the 
hands  of  amateurs  a  lens  which  in  itself 
embraces  all  these  conditions,  that  is  to  say, 
whose  focal  distance  may  be  made  to  vary 
considerably  by  means  of  a  very  simple 
contrivance.  In  this  lens  we  have  on  the 
front  a  combination  of  two  lenses  ;  the 
outer  one  is  made  of  crown-glass,  convex 
on  the  exterior  and  plane  in  the  interior, 
and  the  other  made  of  flint  glass,  plane 
inside  and  concave  on  the  back.  The  flat 
sides  of  the  flint  and  crown  are  cemented 
together  with  the  aid  of  Canada  balsam. 
Back  of  this  combination,  at  a  distance 
equal  to  about  its  diameter,  is  a  double- 
concave  flint  lens.  At  a  short  distance 
behind  this  is  a  plano-convex  lens  of 
crown  ;  three  other  lenses  of  different  fo- 
cus complete  the  system.  By  using  any 
one  of  these  three  back  lenses,  or  by  re- 
moving them  entirely,  we  obtain,  with 
the  half-plate  lens,  focal  lengths  of  seven, 
eight,  nine,  or  fifteen  inches,  as  the  opera- 
tor desires  — Paris  Moniteur. 

At  a  recent  meeting  of  the  Edinburgh 
Photographic  Society,  Mr.  H.  Brehoner 
gave  the  results  of  his  experiments  with 
the  hydroquinone  developer.  He  asserts 
that  it  is  necessary  to  use  at  least  two  per 
cent,  of  this  substance  (two  instead  of  one- 
half  of  one  per  cent.,  as  has  been  advised) 
in  the  developing  bath,  so  as  to  bring  out 
the  details.  By  using  a  still  greater  quan- 
tity, say  from  four  to  six  per  cent.,  the  time 
of  exposure  may  be  considerably  reduced. 
The  author  is  of  the  opinion  that  hydro- 
quinone permits  very  short  exposures,  that 
negatives  of  great  density  and  fine  quality 
are  obtained,  but  that  their  reddish-brown 
tone,  although  attractive  in  itself,  is  not 
suitable  for  hastening  the  printing.  On 
the  other  hand,  Mr.  Lang,  of  Glasgow,  de- 
clares that  hydroquinone  will  never  be 
largely  us.ed  by  professional  photographers, 
because  its  action  is  slow  in  comparison 
with  that  of  the  pyrogallic  acid  universally 


THE  PHILADELPHIA  PHOTOGEAPHEE. 


31 


used.  But  hydroquinone  presents  advan- 
tages to  the  amateur,  because  it  does  not 
require  the  use  of  a  bromide  as  a  retarding 
agent.  The  operation,  therefore,  is  more 
simple. 

The  process  most  often  used  here  for  in- 
tensifying negatives  is  based  upon  the  use 
of  bichloride  of  mercury.  It  consists  in 
plunging  the  unvarnished  and  well-washed 
negative  in  a  bath  composed  of  one  ounce 
of  mercurial  chloride,  one  ounce  of  chloride 
of  ammonium  (ammoniacal  salt),  and  forty 
ounces  of  water.  In  this  solution  the  image 
becomes  gradually  white.  When  this  op- 
eration is  ended  the  plate  is  washed,  first 
under  the  tap,  then  by  allowing  it  to  re- 
main in  several  successive  waters  ;  every- 
thing depends  upon  a  thorough  washing. 
The  plate  is  now  passed  through  a  solution 
of  ammonia  (one-half  ounce  of  liquid  am- 
monia and  twenty  ounces  of  water).  In 
this  solution  the  image  becomes  black 
rapidly,  the  maximum  effect  being  apparent 
usually  in  about  five  minutes.  Nothing 
now  remains  to  be  done  but  to  wash  and 
dry. 


The  German  papers  inform  us  that  the 
paper,  the  pulp  of  which  has  been  treated 
with  sulphites,  and  which  is  used  for  me- 
tallic plates,  etc.,  may  give  rise  to  a  slight 
disengagement  of  sulphurous  acid,  or  else 
to  a  deposit  of  sulphur  upon  the  articles 
thus  packed,  which  consequently  are  in- 
jured. 

A  Photographic  Novelty. — Mr.  Marco 
Mendoza  has  just  introduced  a  new  pho- 
tographic camera  formed  from  a  hat  having 
a  hole  in  the  top,  to  which  a  lens  may  be 
fitted.  An  oval  frame,  fitting  exactly  the 
interior  of  the  hat,  forms  the  camera  at  the 
posterior  part,  and  this  frame  has  in  it  a 
groove  in  which  slides  the  ground-glass  or 
the  negative-frame.  An  ingenious  nickel- 
plated  stand  is  enclosed  in  a  bamboo  cane, 
to  which  the  hat  is  attached  by  means  of  a 
screw,  and  fixed  upon  the  oval  frame  in  the 
salient  part  on  the  interior  edges  of  the 
hat.  This  apparatus  gives  prints  9x12 
centimetres.  The  double  frame  takes  but 
little  room,  and  may  easily  be  carried  in 
the  pocket.  The  hat,  which  is  made  to 
measure,  is  sold  at  ninety  francs. — Paris 
Moniteur. 


Pictures  Received. — From  the  Centennial 
Photograph  Company,  New  Orleans,  a  number 
of  beautiful  stereoscopic  views  of  scenery  in  the 
immediate  neighborhood  of  the  Exposition,  also 
views  of  the  Main  Building,  Horticultural  Hall, 
and  Centennial  Photograph  Company's  studio. 
These  views  display  much  artistic  taste  in  the 
selection,  are  beautifully  lighted,  and  possess  a 
richness  in  the  gradation  of  tone.  The  groves 
of  gigantic  live-oaks,  luxuriant  with  foliage,  and 
the  velvety  lawns,  add  greatly  to  the  charm 
of  these  pictures.  We  are  waiting  anxiously 
for  other  views  from  the  same  source,  when  the 
great  Exposition  shall  be  presented  in  its  full 
glory.  From  Mr.  Chapman,  153  Eighth  Avenue, 
New  York,  several  well-lighted  and  beautifully 


posed  heads  and  full-length  figures;  very  soft 
and  pleasing  in  tone.  From  Mr.  John  Reid, 
Paterson,  N.  J,  a  number  of  instantaneous 
views  of  civic  processions  remarkable  for  the 
beauty  of  detail  and  sharpness. 


We  have  received  some  fine  plates  from  the 
Heliotype  Printing  Company,  211  Tremont 
Street,  Boston,  Mass.,  made  by  the  photo-caustic 
method.  These  plates  can  be  made  from  ordi- 
nary negatives  or  from  large  photographs.  This 
Company  is  prepared  to  produce  photo-mechani- 
cal and  lithographic  work  of  all  kinds  by  the 
best  methods.  Fac-similes  of  medals,  coins, 
ancient  manuscripts,  autographs,  views  from 
nature,  etc. 


32 


THE  PHILADELPHIA  PHOTOGRAPHER. 


Mr.  S.  T.  Blessing,  of  New  Orleans,  sends  us 
his  fine  catalogue  of  artist  and  photographers' 
requisites,  and  judging  by  the  variety  and  num- 
ber of  the  objects  depicted  there  is  ample  field 
for  all  to  select  from.  Messrs.  Mullet  Bros.,  of 
Kansas  City,  Mo.,  also  send  us  a  ponderous 
volume  forming  their  catalogue  of  everything 
that  a  photograper  could  desire.  They  display 
many  new 'and  beautiful  designs  for  moulding 
for  picture  frames,  backgrounds,  photographic 
albums,  and  studio  furniture.  We  are  struck 
with  the  variety  and  taste  in  the  compiling  of 
this  catalogue  of  requisites,  which  seems  not  to 
have  forgotten  anything  a  photographer  might 
wish  for.  We  have  also  been  favored  with  the 
catalogue  of  Messrs  Smith  &  Pattison,  Chicago, 
finely  illustrated,  and  full  of  particulars  of  value 
in  the  selection  of  photographic  articles. 


Removal  op  the  Photographic  Society  of 
Philadelphia. — The  Photographic  Society  of 
Philadelphia  has  moved  into  its  new  and  beau- 
tifully arranged  rooms  at  No.  31  South  Fif- 
teenth Street,  the  great  increase  in  membership 
having  necessitated  more  accomodations  than 
the  room  they  formerly  occupied  could  supply. 
It  is  the  intention  of  the  Society  to  furnish  their 
new  quarters  handsomely,  and  to  adorn  the 
walls  with  productions  of  the  photographic  art, 
and  altogether  to  make  it  a  social  rendezvous 
for  the  members  to  meet  and  discuss  matters  of 
photographic  interest. 


Our  contemporary,  the  Photographic  Times, 
edited  by  Mr.  J.  Traill  Taylor,  and  published 
by  the  Scovill  Manufacturing  Co.,  New  York, 
has  extended  the  sphere  of  its  usefulness  by 
appearing  conjointly  in  a  weekly  and  monthly 
form,  thus  furnishing  its  readers  with  photo- 
graphic matter  of  a  practical  character  which 
cannot  fail  to  be  of  interest. 

We  have  received  from  Mr.  Edward  Liese- 
GANG,  of  Dusseldorff,  the  Photographicher 
Almanack,  for  1885,  embellished  with  a  portrait 
and  a  memoir  of  Mr.  Jabez  Hughes.  It  is 
well  stored  with  useful  information  upon  every 
branch  of  photography,  forming  a  handy  little 
volume  for  reference. 

Messrs.  W.  C.  Gibbs  and  Sanford  Robinson, 
members  of  the  Pacific  Coast  Photographic 
Association,  send  us  a  remarkable  photograph 
which  is  in  reality  a  novelty  in  the  art,  and  a 
foreshadow  of  the  marvels  our  modern  dry  plate 
will  ere  long  be  capable  of  achieving.  It  is  a 
print    from   a   negative   representing   a   night- 


blooming  cereus  taken  by  artificial  light,  not  the 
powerful  electric  arc,  but  the  rays  emanating 
from  two  ordinary  coal-oil  reading  lamps.  It  is 
remarkable  for  the  softness  of  the  shadows,  and 
the  detail  is  presented  with  much  accuracy. 
The  plate  was  the  celebrated  Passavant  C.  I.  P., 
the  time  of  exposure  seven  minutes  with  the 
No.  2  stop  of  a  Dallmeyer  Rapid  Rectilinear 
Lens.  The  developer  employed  was  the  pyro- 
gallie  acid  and  carbonate  of  potash. 


Mr.  C.  W.  Macfarlane,  of  this  city,  having 
spent  several  months,  accompanied  by  his 
camera,  in  the  marvellous  country  of  Mexico, 
has  returned  laden  with  a  number  of  beautiful 
views  of  grand  scenery  from  the  peaks  of  the 
Popocatapetl,  Orizabo,  Iztacsihuatl,  and  the 
other  mountain  heights  of  the  twentieth  paral- 
lel of  latitude.  He  was  also  diligent  in  collect- 
ing scenes  from  the  social  and  domestic  life  of 
the  inhabitants  of  that  strange  country,  alto- 
gether forming  an  unique  and  valuable  collec- 
tion of  negatives. 


Volume  IX.,  No.  2,  of  the  Journal  and  Trans- 
actions of  the  Photographic  Society  of  Great 
Britain,  comes  to  us  with  a  superb  photo-engrav- 
ing by  Messrs.  Annar,  of  Glasgow,  of  the  dis- 
tinguished President,  Mr.  James  Glaisher. 
The  journal  contains  a  number  of  valuable  papers 
by  eminent  scientific  men. 


A  Arte- Phot  ographica,  No.  9,  has  been  re- 
ceived. Our  Portuguese  contemporary  may  well 
be  proud  of  the  beautiful  phototype  landscape, 
which  luxuriates  in  a  wealth  of  half  tones,  and 
in  a  vigor  in  the  deep  shadows. 


Mr.  John  Carbutt,  whose  excellent  brands 
of  dry  plates  has  gained  for  him  a  wide  reputa- 
tion amongst  photographers,  has  removed  to  his 
newly  built  factory  at  Wayne  Station,  near  Ger- 
mantown,  Philadelphia,  where  he  has  every 
convenience,  both  from  space,  situation,  natural 
water  supply  and  mechanical  contrivance,  to 
maintain  the  high  standing  of  the  plates,  and 
better  to  supply  the  constantly  increasing  de- 
mand for  them. 

New  Cameras  and  Holders. — The  Scovill 
Manufacturing  Company  announce  that  they 
have  devised  of  late  a  line  of  new  cameras 
and  holders  more  compact  than  any  yet  made 
for  the  accommodation  of  gelatino-bromide  of 
silver  films.  They  also  announce  that  they  have 
a  stock  of  these  films  on  hand  ready  for  the 
market. 


MAKE  dVT  YOUR  OWN  BILL,  and  remit  cash  with  your  advertisements,  or  they  will  not  be 
inserted. 

ADVERTISING  RATES  FOR  SPECIALTIES.— Six  lines,  one  insertion,  $2.00,  and  25  cents  for 
each  additional  line,  seven  words  to  a  line — in  advance.  Operators  desiring-  situations,  no  charge.  Matter 
must  be  received  by  the  23d  to  secure  insertion.  Advertisers  will  please  not  ask  us  for  recommendations. 
4®°"We  cannot  undertake  to  mail  answers  to  parties  who  advertise.  Please  always  add  your  address  to  the 
advertisement.     Postage-stamps  taken. 


BARGAINS  !     BARGAINS  ! 

One  No.  2  antique  fireplace  and  cabinet 
combined,  rich  in  design.  Reduced  from 
$60  to  $45. 

One  No.  399  Eastlake  fireplace  and  cabi- 
net combined.  Several  changes ;  very  at- 
tractive.    Reduced  from  $50  to  $40. 

Octagon  balustrade,  No.  479,  with  base- 
Reduced  from  $35  to  $30. 

We  have  in  stock  several  of  our  popular 
Venetian  cabinets  at  $50. 

Our  new  papier  mache'  trees  are  selling 
rapidly. 

Lafayette  W.  Seavey, 

216  E.  Ninth  St.,  N.  Y. 


W.  F.  ASHE 

ARTISTIC    BACKGROUNDS 

AND 

ACCESSORIES, 

REMOVED  TO  68  WEST  FOURTH  ST., 
4  Blocks  West  of  Broadway,  N.  Y. 

My  new  studio  is  fitted  up  with  all  the  mod- 
ern improvements,  and  the  most  refined  demands 
from. a  critical  public  can  be  satisfied.  A  visit 
to  my  establishment,  which  has  the  largest 
showroom,  containing  the  greatest  amount  of 
stock  of  any  place  in  the  world,  will  be  grate- 
fully appreciated. 

I  have  again  added  numerous  new  designs  to 
my  great  variety  of  patterns  for  backgrounds 
and  accessories,  and  keep  also  in  stock  a  large 
quantity  of  goods  for  parties  to  select  from, 
saving  time  and  delay  on  orders. 


ROM 00D  SOLAR  PRINTING  CO. 

1 7  Union  Square,  New  York. 

TIME. — It  is  our  intention  that  every  order 
received  in  the  morning's  mail  (when  not  to  be 
put  on  stretchers)  shall  leave  this  establishment 
the  same  day  or  the  following  morning.  If  too 
late  for  the  morning  work,  it  is  sent  on  the  sec- 
ond day.  Having  our  own  engine  and  electric 
light,  we  are  not  at  all  dependent  on  the  weather. 
GEORGE  H.  ROCKWOOD, 
Business  Manager. 


WHO  WANTS  IT? 
We  will  sell  to  the  highest  bidder,  one  of  the 
finest  and  largest  galleries  in  the  State.  Loca- 
tion first-class.  Everything  on  second  floor.  Two 
large  skylights,  Brussels  carpets,  fine  mirror 
and  furniture;  everything  new.  Two  large 
solar  cameras,  one  14  x  17  and  one  8x11,  Royal 
cameras.  The  place  cost  over  $5000;  we  bought 
it  at  sheriff's  sale  in  order  to  save  our  claim. 
We  are  not  photographers,  and  do  not  want  it. 
Will  sell  for  a  trifle  on  easy  terms,  or  will  take 
a  wide-awake  partner  with  some  cash.  Prices 
good.  No  tintypes  made.  Population  40,000. 
The  best  season  just  at  hand,  the  Legislature 
being  about  to  begin  its  session.  Address 
Barnes  &  Miller, 

329  Market  Street, 
Harrisburg,  Pa. 


VOGEL'S  PROGRESS  OF  PHOTOGRAPHY, 

LATEST— BEST— $3. 


34 


THE  PHILADELPHIA  PHOTOGEAPIBE. 


No.  18. 


No.  18. 


WAYMOUTH'S 

VIGNETTE 

PAPERS, 

The  old  form  of  No.  18,  Waymouth's  Vignette 
Papers,  oval,  has  been  discarded,  and  a  new 
pear-shaped  style  is  now  ready  in  its  place.  It 
is  a  beautiful  piece  of  gradation  and  prints 
perfectly.  Price  $1.25  per  dozen.  For  sale  by 
all  dealers.     See  advertisement  for  all  sizes. 


No.  18. 


NOW  READY. 


No.  18. 


SAMUEL  W.  BROWN  &  CO., 
Solar  Prints  by  the  Platinum  Process, 

AND 

silver  printinc4  for  the  trade  and  amateurs. 
2805  Poplar  Street,  Philadephia. 


Every  photographer  in  want-  of  excellent 
lenses,  for  any  purpose,  will  best  serve  his  interest 
by  consulting  the  new  illustrated  price-list  of 
Messrs.  Benjamin  French  &  Co.  before  pur- 
chasing. 


"WILSON'S  PHOTOGRAPHICS 

Holds  up  to  view  all  about  manipula- 
tion, photographic  art,  posing,  lighting, 
etc.  Nearly  4000  sold.  See  advertisements 
and  testimonials. 

$400  $4.00 


Address  T.  W.  Power,  N.  Y.,  Secretary  of 
Association  of  Operative  Photographers  of  New 
York  City,  for  operators,  printers,  and  re- 
touchers, 392  Bowery,  or  487  Eighth  Avenue. 


GOLD,   SILVER,   AND  NICKEL 
PLATING. 

A  USEFUL  TRADE,  EASILY  LEARNED. 


PRICE,  $3.50. 

In  order  to  meet  a  long-felt  want  for  a  con- 
venient and  portable  plating  apparatus,  with 
which  any  one  can  do  the  finest  quality  of  gold, 
silver,  and  nickel  plating  on  watches,  chains, 
rings,  knives,  forks,  and  spoons,  I  have  made 
the  above  low-priced  set,  consisting  of  tank 
lined  with  acid-proof  cement,  three  cells  of 
battery  that  will  deposit  thirty  pennyweights  of 
metal  a  day,  hanging  bars,  wire,  gold  solution, 
one  quart  of  silver  solution,  and  half  a  gallon  of 
nickel.  Also  a  box  of  bright  lustre,  that  will  give 
the  metal  the  bright  and  lustrous  appearance  of 
finished  work.  Remember  these  solutions  are 
not  exhausted,  but  will  plate  any  number  of 
articles  if  the  simple  book  of  instructions  is  fol- 
lowed. Any  one  can  do  it.  A  woman's  work. 
For  fifty  cents  extra  will  send  six  chains  or  rings 
that  can  be  gold-plated  and  sold  for  two  dollars 
more  than  the  whole  outfit  costs.  Our  book, 
Gold  and  Silver  for  the  People,  which  offers  un- 
rivalled inducements  to  all,  sent  free.  If  not 
successful,  can  be  returned  and  exchanged  for 
more  than  its  value.  Remember,  this  is  a  prac- 
tical outfit,  and  I  will  warrant  it,  or  it  can  be 
returned  at  my  expense.  Will  be  sent  C.  0.  D., 
if  desired,  upon  receipt  of  $1.50,  balance  to  be 
collected  when  delivered.  Next  size  outfit,  with 
tank  12  x  10  x  6,  only  $5.00.  Try  it.  Profits, 
over  three  hundred  per  cent.  Book  sent  free. 
Address  Fredk.  Lowet, 

96  &  98  Fulton  St., 

New  York. 


AMEKICAN 

Electric  Light,  60  Cents. 

A  complete  model  incandescent 
electric  lamp,  with  batttery,  stand, 
globe,  platina  burner,  wire,  etc., 
with  instructions  for  putting  in 
perfect  operation,  will  be  sent, 
post-paid,  for  60  cents.  Address 
Fredk.  Lowey, 

96  Fulton  St.,  N,  Y. 


THE    PHILADELPHIA    PHOTOGEAPHER. 


35 


OSIT 

Opening  December  1, 1884;  Closing  May  31,1885. 

—  UNDER  THE  AUSPICES  OF  THE  — 

Unite  &  States  Government, 
$1,300,000, 

Appropriated    by  the    General  Government. 


$500,000, 

uted  by  the  Citizens  of  New  C 

$200,000, 

riated  by  Mexico. 

$100,000, 

iated   by    the    State   of     L 

$100,000, 


Contributed  by  the  Citizens  of  New  Orleans. 

$200,( 

Appropriated  by  Mexico. 

$100,C 

Appropriated   by    the    State   of     Louisiana. 


Appropriated   by  the  City  of  New  Orleafis. 

From  $5000  to  $25,000, 

Appropriated  by  Innumerable  States,  Cities 
and  Foreign  Countries. 

Every  State  and   Territory  in  the  Union  represented, 

and  nearly  all  the  Leading   Nations  and 

Countries  of  the  World. 

The  Biggest  Exhibit,  the  Biggest  Building  and  the 

Biggest   Industrial   Event  In  the 

World's  History. 

APPLICATIONS    FOB    EXHIBITS  ALREADY  REORTVKD 

COVER  MORE  SPACE  AND  A  GREATER  VARIETY 

OF   SUBJECTS    THAN    THOSE  OF  ANY 

EXPOSITION  EVER  HELD. 


The  cheapest  rates  of  travel  ever  known  in* 
the  annals  of  transportation  secured  for  the 
people  everywhere. 
For  information,  address 

E.  A.  BURKE, 
N        Director  General,  W.  I.  &  C.  C.  E., 
Nbw  Orleans.  La, 


THE  LIGHT 


SEWING  MACHINE 


SIMPLE 


THE  ONLY  SEWING  MACHINE 

L         .  THAT  GIVES         . J 


PERFECT  SATISFACTION:- 


fHAS  NO  EQUAL*^ 

Every0 


EWING  MACHINE  CO 

ORANGE  MASS. 

30  UNION  SQ.N.Y.   CHICAGO  ILL. 
ST.  LOUIS  MO.  ATLANTA  GA. 

^qFORSALEBYF- 


Gilbert's  Automatic  Retoucher. — Since  the 
Convention  the  demand  has  been  so  great  for  it 
in  Europe  and  America,  that  I  shall  continue 
selling  at  the  reduced  price.  Send  for  particu- 
lars to  E.  A.  Gilbert, 

Ravenna,  Ohio; 


36 


THE  PHILADELPHIA   PHOTOGKAPHEK. 


"We  are  Ready. 
Owing  to  the  sudden  increase  in  the  demand 
for  the  Rockwood  Dry  Plates,  we  were  ohliged 
through  the  months  of  July  and  August  to  de- 
cline many  orders.  We  have  now  more  than 
quadrupled  our  facilities,  and  introduced  im- 
provements which  will,  we  hope,  enable  us  to 
fill  orders  with  promptness,  and  give  us  plates 
possessing,  if  possible,  still  more  sensitiveness 
and  uniformity.  For  price-lists  and  samples  of 
work  done  by  the  "Rockwood  Plate," 

Address     J.  A.  Randel,  Manager, 

17  Union  Square,  New  York. 


WILSON'S  PHOTOGRAPHICS. 

It  leads  the  nose  right,   and   presents 

to  the  eye  "  a  perfect  cyclopaedia  of 

photography . ' ' 


METAL  GUIDES 

FOR 

A.  M.  COLLINS,  SON  &  CO.'S 
No.  26  Gilt  Bevblled-edgb  Cards. 
The  fancy-shaped  mounts  now  so  fashionable 
among  photographers,  require  metal  guides  with 
which  to  cut  the  photographs.  They  are  now 
kept  on  hand,  and  can  be  supplied  in  the  follow- 
ing shapes,  and  at  the  prices  mentioned  : 

Each. 

Cross $1  05 

Star 1   00 

Palette 90 

Leaf 90 

Bell  90 

Crescent 80 

Egg 50 

Triangle 90 

For  sale  by  Edward  L.  Wilson, 

1125  Chestnut  Street, 
Phliadelphia,  Pa. 


"WILSON'S  PHOTOGRAPHICS. 

All  about  emulsion  work  and  plate  mak- 
ing- a  whole  big  chapter.    See  index. 

$4.00  Buy  it.  $4.00 


1864 


1884. 


M.  WERNER, 

PORTRAIT    ARTIST, 

No.  102  N.  Tenth  Street,  Philadelphia. 

Photographs  finished  in  crayon,  India  ink, 
water  colors,  and  pastel,  in  all  sizes,  in  the  very 
best  styles,  and  at  moderate  prices. 

Solar  Prints  and  Enlargements  Furnished. 

Vogel's  Progress  of  Photography, 

LATEST— BEST—  $3. 


WILSON'S  PHOTOGRAPHICS 

Teaches  every  step  in  Photography. 


THE    PHILADELPHIA    PHOTOGKAPHEP. 


37 


For  Sale. — In  a  town  of  6000  inhabitants, 
beautiful  locality,  growing  and  healthy,  a  first- 
class  photograph  establishment.  It  is  supplied 
with  a  Hayes'  patent  light,  north,  side,  and  sky- 
light, top  light  (16x16),  fine  ground-glass, 
running  water,  a  Dallmeyer  lens,  which  covers 
11  x  14,  on  D.  S.  B,  box  of  that  size,  and  a 
No.  5  Voigtl'ander  lens,  and  an  8  x  10  American 
Optical  Company's  "  Royal "  box.  Also  acces- 
sories, backgrounds,  and  a  valuable  lot  of  nega- 
tives. Attached  is  a  large  work-room  and 
dark-room,  8  x  11  feet,  a  room  for  making  dry- 
plates  with  all  the  appurtenances.  Will  sell 
cheap,  as  my  health  requires  a  rest.  A  splendid 
chance.         Address  J.  B.  Leisenring, 

Lock  Box  46,  Fort  Dodge,  Iowa. 


Try  the  Johnston  Dry  Plate.  Warranted  to 
be  as  good  as  any  in  the  market,  or  money  re- 
funded. 3i  x  4J,  50  cents  ;  4J  x  6£,  $1.00 ;  5x7, 
$1.25;  8x10,  $3.00.  Other  sizes  in  proportion. 
A  liberal  discount  on  large  orders.  Send  for  trial 
dozen  and  price-list.         Address 

Johnston  &  Champlin, 

Room  30,  Arcade, 

Buffalo,  N.  Y. 


PORTRAITS  IN  CRAYON. 
The  new  hook   by   E.   Long,   on   the   art  of 
making  portraits  in  crayon  on  solar  enlarge- 
ments, covers  the  entire  ground,  and  is  sold  for 
the  low  price  of  fifty  cents.     For  sale  by 

Edward  L.  Wilson, 

Philadelphia. 


Will  be  sold  very  cheap,  the  only  gallery  in 
a  county  of  25,000  inhabitants.  No  competition 
within  forty  miles.  A  splendid  opening  for  a 
young  man ;  all  he  can  do.  Best  of  reasons  for 
selling.  Samples  of  work  sent  to  anyone  mean- 
ing business,  on  enclosing  stamp.  Address 
H.  W.  Rich, 
Onancock,  Accomack  Co.,  Va. 


Photography. — Wanted  a  first-class  operator 
who  is  competent  to  undertake  all  classes  of 
work  and  possesses  ability  to  throw  art  into  a 
negative,  to  proceed  at  once  to  Sydney,  Aus- 
tralia. Four  years'  engagement.  Salary  thirty 
dollars  per  week  for  the  first  two  years,  and 
forty  dollars  per  week  for  the  remaining  years 
of  the  term.  Passage  paid  from  San  Francisco. 
Applicants  to  give  full  particulars,  and  submit 
samples  of  work  to 

Lafayette  W.  Seavey, 

216  E.  Ninth  Street, 

New  York  City. 


WILSON'S  PHOTOGRAPHICS 

Teaches  How  to  get  rid  of  eVery  monster 
and  trouble  in  the  practice  of  the  art. 

$4.00  $4.00 

SITUATIONS  WANTED. 

No  charge/or  advertisements  under  this  head;  limited 
to  four  lines.    Inserted  once  only,  unless  by  request. 

By  a  lady,  to  retouch  and  attend  reception- 
room.     Address  Annie  Fenton,  Lockport,  N.  Y. 

As  operator  or  dry-plate  maker.  Can  give 
best  of  reference.  Address  S.  C,  care  of  E. 
Klauber,  332  Fourth  Avenue,  Louisville,  Ky. 

To  retouch  and  attend  reception-room.  Salary 
not  so  much  an  object  as  experience.  Address 
Miss  M.  L.  Ashley,  Box  689,  Willimantic,  Conn. 

By  a  No.  1  retoucher.  Can  operate  and  print 
if  necessary,  in  dry  plates  only.  Address  A.  M. 
Fields,  59  River  Street,  Pittsfield,  Mass. 

By  a  first-class  retoucher,  who  thoroughly 
understands  all  branches  of  the  photographic 
business.  Can  handle  and  make  dry  plate.  Will 
run  or  rent  a  gallery.  Possesses  several  good  in- 
struments.    Address  Charles  Kohl,  Franklin,  O. 

By  a  first-class  retoucher.  References  given. 
Address  Charles  W.  Morton,  Lock  Box  115, 
Northampton,  Mass. 


38 


THE    PHILADELPHIA    PHOTOGRAPHER. 


Permanently,  by  a  photographer.  Prnctised 
in  all  branches,  and  well  recommended.  Address 
Retoucher  L.,  care  of  G.  Cramer,  1001  S.  Fifth 
Street,  St.  Louis,  Mo. 

By  a  first-class  dry -plate  maker,  or  as  photo- 
graphic assistant  or  manager.  Has  had  many 
years'  experience.  Address  Dry-Plate  Maker, 
1434  N.  Front  Street,  Philadelphia,  Pa. 

As  assistant  retoucher.  Can  spot  and  finish 
prints,  and' will  assist  in  printing.  Will  come 
well  recommended.  Address  Ida  M.  Bennett, 
Bucyrus,  Crawford  Co.,  Ohio. 


By  a  lady,  as  retoucher  in  a  first-class  gallery. 
Address  Miss  A.  K.  P.,  526  East  Second  Street, 
Dayton,  0. 

By  good  operator.  Can  take  charge  of  gal- 
lery. Strictly  temperate.  Address  Operator, 
147  Chicago,  111. 

By  a  superior  operator  and  retoucher;  wet 
and  dry  plates.  Address  Schlickhausen,  950 
Summit  Avenue,  Jersey  City,  N.  J. 

As  printer  or  assistant  operator,  or  to  take 
charge  of  small  gallery.  Thomas  B.  Hopper, 
Philadelphia  P.  0.,  Pa. 


ARTISTIC  PHOTOGRAPHY, 

AND  HOW  TO  ATTAIN  IT. 

By   LYMAN    G.    B1GELOW. 


Owing  to  the  ready  sale  of  the  first  edition,  we  are  enabled  to  produce  the  new  one  at  less 
cost,  and  now  at  a  REDUCED  PRICE,  $4.00,  we  are  enabled  to  place  it  within  the 
reach  of  everybody. 

EXAMINE  THE  CONTENTS. 


BEADING  MATTER. 

I.  Introductory. 

II.  Artistic  Light. 

III.  Balance  of  Lines. 

IV.  Chiaro-oscuro. 

V.   Backgrounds  and  Accessories. 
VI.    Co??iposition,  Rules,  and  Maxims. 
VII.    The  Studio. 
VIII.  For??iula  well  proved  and  used  by  the 
author  in  producing   the   work   e?n- 
ployed  to  illustrate  his  book. 
IX.   Printing  and  toning  formula. 


PHOTO.  ILLUSTRATIONS. 

1 .  Cloud  Portrait. 

2.  Cabinet  Medallion  of  a  lady. 

3.  Cabinet ,  plain — boy  on  a  velocipede 

4.  Promenade,  lady  (interior). 

5.  Promenade,  lady  [moonlight). 

6.  Cabinet,  gentleman  [bust). 

7.  Cabinet,  lady  (f  length). 

8.  Cabinet,  lady  (bust). 

9.  Cabinet,  lady  (f  length). 

10.  Promenade,  group. 

1 1 .  Promenade,  group. 

12.  Prome7tade,  seaside. 


Together  with  a  plan  of  Mr.  JSigelow's  skylight. 
jjigp  A  fine  lot  of  studies  and  capital  instructions  for  producing  them. 

EDWARD  L.  WILSON,  Photo.  Publisher,  1125  Chestnut  St.,  Phila. 
SAVE  SEVEN  AND  ONE-HALF  DOLLARS 

On  Every  Ream  of  Plain  Salted  Paper  you  Use  by  Buying 

Buchanan,  Smedley  &  Bromley's 

New  Special  Brand  of  SUPERIOR  SALTED  PAPER, 

-WOOD  STJIR.IF'AOE. 


To  end  the  war  in  prices,  we  step  forward  and  make  one  grand  reduction  in  the  price  of  this 
kind  of  Photographic  Paper.     $28.00  per  Ream,  former  price.     Our  new  price  is 


$20.50  PER  REAM. 


$20.50  PER  REAM. 


Same  size  as  demon's  Matt-surface  and  Morgan's  Salted  Papers.     Sample  sheet  free,  by  mail, 
to  any  address,  upon  receipt  of  6  cents  in  postage  stamps.     Ask  your  local  dealer  for  it. 

BUCHANAN,  SMEDLEY  &  BROMLEY,  25  NORTH  SEVENTH  STREET,  PHILADA. 


THE  PHILADELPHIA  PHOTOGKAPHEK. 


39 


CARBUTT'S 


KEYSTONE 


NEW  SERIES 


DRY  PLATES 


18  84. 

This  year's  make  of"  KEYSTONE  SPECIALS"  far  excel  in.  rapidity  and  quality 
any  other  plate  made,  here  or  elsewhere. 

ONE  TRIAL  WILL  CONVINCE  THE  MOST  SKEPTICAL  OF  ITS  SUPERIORITY. 


PRICE    LIST   OF 

CARBUTT'S  KEYSTONE  GELATINE  DRY  PLATES, 

"SPECIALS"  FOR  PORTRAITS  AND  DROP-SHUTTER  VIEWS. 

Jzl  (Gelatino-Albumen),  for  Slow  Exposures  and  Transparencies. 
±J  (Gelatino- Albumen),  Rapid  Landscape  and  General  Photography. 

MADE  ON  CHANCES'  BEST  ENGLISH  GZASS. 


*3li  x  4  Lantern  Slide  Plates, 
3#x4tf 

4  x5, 

4*x5K.    .... 
4tfx6jS,    .... 

5  x7,       . 

5/2x7,       .        •       •       . 

5    x8,       . 

6^x8^     .       .        .'       . 


Per  Doz. 

$0  70 

7x9, 

60 

8x10, 

90 

10  x  12, 

1  00 

11  x  14, 

1  20 

14  x  17, 

1  55 

16  x  20, 

1  65 

17  x20, 

1  75 

18x22, 

2  30 

20x24, 

Per  Doz. 

$2  75 

3  40 

5  00 

6  50 

12  00 

16  00 

17  00 

.20  00 

24  00 

*  These  plates  are  made  on  special  thin  crystal  glass,  cut  to  the  Standard  Optical  Lantern  size  of  3^  x  4. 

For  price  of  Stripping  Plates  for  Photo-Mechanical  printers,  add  25  per  cent,  to  the  cost  of  any  size  on  list. 
All  plates  guaranteed,  and  can  be  procured  of  any  dealer  in  Photo.  Materials. 

Keystone  Negative  Varnish.    Translucent  Ruby  Paper. 

CARBUTT'S  MULTUM  IN  PARYO  DRY-PLATE  LANTERN 

PATENTED  APRIL  35th,  1883.         IMPROVED  JANUARY,  1884. 


Lantern   arranged  for  developing,  and,  after   fixing, 
examining  negatives  by  opa!  light. 


Lantern  arranged  for  making  positives  by  contact. 

Price  $6.00,  Boxed  Ready  for  Shipment.    For  Sale  by  all  Dealers. 

JOHN  CARBUTT,  Keystone  Dry-Plate  Works,  Philada 


40  THE    PHILADELPHIA    PHOTOGEAPHE 


R. 


C 


\)wwpmtt 


THIS  FAVORITE  ANNUAL  NOW  READY. 

144  PAGES.— 50  CENTS;   CLOTH  COVER,  $1.00—144  PAGES. 

CONTENTS. 


i.  A  Pot  Pouri  of  the  Past.  • 

2.  Bits  of  Experience.     Geo.  H.  Croughton,  Phila. 

3.  How  Rapid  are  Dry  Plates?      H.   D.   Garrison, 

Chicago. 

4.  The   Photographic   Dude.      J.    Pitcher    Spooner, 

Stockton,  Cal. 

5.  My  Developer.     Wm.  McComb,  Muskegon,  Mich.  30 

6.  A  Hint  for  the  New  Year.     Marcus   H.   Rogers,  31 

N.  Brimfield,  Mass. 

7.  Energy.     R.  E.  Wood,  St.  Helena,  Cal.  32 

8.  A  Rapid  Emulsion.     Geo.  Sperry,  Evansville,  Ind. 

9.  Amateur  Photography  a  Teacher.     A.  Bogardus,  33 

New  York. 

10.  A  Few  Photographic  Hints.     H.  K.  Seybold.  34 

11.  Photographic  Experiences.     Dr.  G.  F.  H.  Bartlett, 

Buffalo,  N.  Y.  ,     35 

12.  Something  Not  Necessarily  Dry.    Chas.  E.  Emery,  36 

Silver  Cliff,  Col.  37 

13.  Elevate  Ourselves   First       J.  C.  Moulton,  Fitch- 

burg,  Mass.  38, 

14.  Photo  -Hash.     J.  A.  Sheriff,  San  Diego,  Cal. 

15.  Weak  or  Strong  Development.    Dr.  H.  Sturenberg.  39 

16.  How  to  Develop  Landscapes  upon  Dry  Plates,  or 

a  Method  of  Testing   Plates   whose   Time   of  40, 

Exposure  is  Unknown.     Dr.  H.  W.  Vogel 

17.  How   to    Make    Home-made    Retouching    Lead.  41 

Chas.  Latham    Bradford,  Pa. 

18.  Something  About* Blisters.     B.  T.  Rice,  Frankfort,  42, 

Kansas. 

19.  How    to    Number    Negatives.       H.    S.    Stevens,  43 

Keene,  N.  H.  44 

20.  A  Few   Things  to   Save   Money.     H.  G.  Parcell,  45 

Kingsville,  Mo  46 

21.  An  Amateur's   Views  on  Prices.     W.  R.  Trippe,  47 

Goshen,  N.  Y.  48 

22.  How  I    Got   White   Streaks   on   my   Stereoscopic 

Negatives.     J.  J    Eskill,  Florence,  Wis.  49. 

23.  Practical      E   E.  Van  Epps,  Hanover,  Kansas 

54.  How  I  Clean  Varnished  Films  from  Old  Negatives.  50 

E.  D.  Ritton,  Danbury,  Conn. 

25.  A  Good  Copying  Paper.     Dr.  Stevenberg.  51 

26.  A    Few    Notes    for    Mosaics.     Will   A.   Triplett, 

Bluffton,  O.  52 


The  Lesson  to  Learn.      M.  H.  Albee,  Marlboro, 

Mass. 
To    Know    How.      S.    P.  Tressler,    Fort    Scott, 

Kansas. 
Whither  are  we  Drifting?     H.  B.  Hillyer,  Austin, 

Texas. 
The  Best  Dry  Plate  Developer.   Dry  Plate  Maker. 
The    Cincinnati    Convention.     Chas.    T.    Stuart, 

Hartford,  Conn 
Home-made   Dry   Plates.     Jay  Densmore,  Niles, 

Mich. 
Practical,    Pointed,   and   Clear.     John  D.  Miller, 

Elizabethtown,  Pa. 
A   Very   Convenient   Washing  Box.     Mrs.  E.  N. 

Lockwood,  Ripon,  Wis. 
On  the  Reduction  of  Negatives.     H.  K   Seybold. 
A  Warning.     Henry  Piatt,  Nantucket,  Mass. 
Slow  Development — a  Word  to  Beginners.     Alfred 

Ganze. 
Home-made  Plates.     Ranald  Douglass,  E.  Gardi- 
ner, Mass. 
A  Cleaning  Solution  for  Gelatine   Negatives  and 

Positives.     R.  G.  Weiss 
Gleanings  From  my    Last  Year's   Reading.     Old 

Gray-beard. 
An   Automatic   Washing   Tank.     Geo.    W.  Leas, 

Peru,  Ind. 
Smoked  Negatives.    W.  H.  Sherman,  Milwaukee, 

Wis 
Hints  to  Amateurs.  Xanthus  Smith,  Philada.,  Pa 
A  Workman's  Idea.     H.  S.  Keller,  Utica,  N.  Y. 
About  Prices.     John  C    Patrick,  Batavia,  N.  Y. 
Exposure      Ellerslie  Wallace,  M.D.,  Philada. 
On  the  Delectable  Dry.     Wm.  H.  Rau,  Philada. 
Photography  in  its  Relation  to  Art.  John  Bartlett, 

Philada. 
The  Attractive  Properties  of  a  Photograph      C.  M. 

French,  Garrettsville,  O. 
A  New   Method  of  Developing   Dry  Plates.     D. 

Bachrach,  Jr.,  Balto.  Md. 
Our  Way   is   our   Hobby.     Miss  H.  H.  Flanagin, 

Woodstown,  N.  J. 
"  Nothing  to  Say."    J.  H.  Hallenbeck,  N.  Y. 


EDWARD  L.  WILSON,  Photo.  Publisher,  No.  U25  Chestnut  Street,  Philada. 

FOB  SALE  BY  ALL  DEALEES. 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


41 


720  {5  gross)  of  these  trimmers  were  sold  to  one  party  in  July. 


ROBINSON'S 
NEW  MODEL 


PHOTOGRAPH  TRIMMERS ! 


SI  s 


These  invaluable  instruments  are  already  used  all  over  the  country,  and 
now,  a  change  of  form  having  permitted  an  immense  reduction  in  price, 
they  must  soon  be  UNIVERSALLY  USED  as  they  afford  a  quicker, 
better,  and  less  expensive  means  of  trimming  photographs  than  any  other. 
The  inventor  assures  photographers  that  his  trimmers  can  be  used  with 
greater  ease  when  held  as  indicated  in  the  drawings  below.  These  trim- 
mers are  now  made  entirely  of  metal,  and  in  quality  are  fully  equal  to  those 
of  the  old  model.  They  answer  for  oval,  round,  arch  top,  and  square 
work. 


Plan  of  holding  the  Straight    Cut  Trimmer 
when  in  use.    PRICE,  50  CENTS. 


Plan  of  holding  the  Revolving  Trimmer  when  in 
se.     PRICE  (with  one  card  guide)  $1.00. 


OVALS. 

2x2$. 

3|x4f 

5x7 

6ix8J 

2£*3£ 

3|x4| 

5ix7i 

6Jx8J 

2£x3£ 

3£x4| 

5Jx7£ 

7x9 

2fx3| 

3fx5£ 

5fx7f 

71X9J 

2fx3£ 

4x5f 

5fx7f 

7Jx9J 

2|x4£ 

4fx6f 

6x8 

7|x9| 

OBIKTSOKT'S     GUIDE3S. 

MADE   OF   SHEET-IRON. 
We  have  the  following  Regular  Sizes  always  on  hand  at  io  cents  per  inch  the  longest  way  of 
the  aperture. 

SQUARE  OR  ROUND  CORNERED. 

2TVx3|  2T\x3f  2fx4£  4x5f 

2|x3|  2^x3$  2£x4f         4^x5$ 

2£x3|  2fx4J  3|x5J         3|x6 

2A*3H  4x6i 

FOE  STEEEOGEAPHS. 
Arch  Tops.  Round  Cornered.  Round. 

3TVx3f,  3x3         3T^x3f,  3x3  3x3 

The  above  sizes  suit  the  Collins  Card  Mounts,  and  photographers  knowing  that  they  can  be 
always  had  at  the  low  price  of  ten  cents  per  inch,  would  do  well  to  make  their  sizes  accord,  as 
orders  can  also  be  filled  more  quickly.     Ten  days  are  required  to  make  special  sizes. 

Special  Sizes  made  to  order,  at  15  cents  per  inch,  the  longest  way  of  the  aperture. 

ROBINSON'S  PHOTOGRAPH  TRIMMERS  are  substitutes  for the  Knife  for  Trimming 

Photographs,  and  do  the  work  much  more  expeditiously  and  elegantly. 

They  Save  Time,  Save  Prints,  and  Save  Money. 

They  do  not  cut,  but  pinch  off  the  waste  paper,  and  leave  the  print  with  a  neatly  beveled  edge 
which  facilitates  adherence  to  the  mount.  Try  one,  and  you  will  discard  the  knife  and  punch  at 
once.     For  ovals  and  rounded  corners  they  are  worth  their  weight  in  gold. 

In  All  EDWARD  L.  WILSON,  Manufacturer's  Agent,  1125  Chestnut  St.,  Philada. 


42 


THE  PHILADELPHIA  PHOTOGEAPHEE. 


REMOVAL   NOTICE. 

"THE  MOUND  CITY" 

PHOTOGRAPHIC  STOCK  HOUSE. 

Has  Removed  to  their  New  and  Elegant  Building, 

Cor.  Eighth  and  Locust  Streets, 

OPPOSITE  NEW  CUSTOM  HOUSE  AND  POST  OFFICE. 

Where  they  have  better  facilities,  more  and  pleasanter  rooms,  and  are  better 
prepared  than  ever  before  for  supplying  the  wants  of  their  customers. 

SEND  ALONG  YOUR  ORDERS. 

Address 

H.    A.    HYATT, 

Eighth  and  Locust  Sts.,  St.  Louis,  Mo. 

Send  for  Illustrated    Catalogues  and  Price  List  of   Photographic  Goods  and 
Picture  Frames. 


PHOTORAPHME  MITTHEILUN6EN. 


We  are  now  prepared  to  receive  subscriptions  for  Dr.  Hermann  W.  Vogel's  magazine  bearing 
the  above  title. 

The  MITTHEILUNGEN  is  published  in  German  and  is  issued  semi-monthly  at  #3.00  per  year, 
postage  paid.  To  all  of  our  German  photographers  and  many  others  this  will  be  considered  a 
desirable  opportunity. 

The  Magazine  is  published  at  Berlin.     Subscriptions  received  by 

EDWARD    L.  WILSON, 

1125  Chestnut  Street,  Philadelphia,  Fa. 


THE    PHILADELPHIA    PHOTOGRAPHER. 


43 


WILSON'S  PHOTOGRAPHIC 


^ 


-Nfl  m^WW  ®N  EYE^Y  B^^CP  0F  PP@¥06^PP¥.31^- 


THE  PHILADELPHIA  PHOTOGRAPHER. 

A  monthly  Magazine,  illustrated  by  pho- 
tographs of  superior  merit.  $5.00  a  year  ; 
$2.50  for  six  months. 

Stands  ahead  of  all  its  kindred.  Eighteen  years  of 
success  is  a  sufficient  guarantee  of  its  value  and  use  to 
the  practical,  working,  growing  photographer.  Do  not 
go  without  its  valuable  help. 


WILSON'S  PHOTOGRAPHICS 

THE  NEWEST  AND   MOST   COMPLETE 

PHOTOGRAPHIC   LESSON-BOOK. 

Covers  Every  Department. 

352  Pages.    Finely  Illustrated.     Only  $4.00. 

By  Edward  L.  "Wilson. 


WILSON'S  LANTERN  JOURNEYS. 

By  Edward  L.  Wilson.     In  Three  Vols. 
Price,  $2.00  per  vol. 

For  the  lantern  exhibitor.  Gives  incidents  and  facts 
in  entertaining  style  of  about  2000  places  and  things, 
including  200  of  the  Centennial  Exhibition. 


THE  PROGRESS  OF  PHOTOGRAPHY 

SINCE  1879. 
By  Dr.  H.  Vogel.     Price,  $3.00. 

Issued  July  15th,  1883.     A  splendid  work. 


BIGELOW'S  ARTISTIC  PHOTOGRAPHY. 

Price  reduced  to  $4.00. 

For  the  lover  of  art.  Beats  his  "  Album  of  Lighting 
and  posing."  Superb  !  With  twelve  photographs  and 
instructions. 


THE  FERROTYPER'S  GUIDE. 

Price,  75  cents. 

Cheap  and  complete.     For  the  Ferrotyper,  this  is  the 
only  standard  work.     Seventh  thousand. 


STUDIES  IN  ARTISTIC  PRINTING. 

By  C.  "W.  Hearn.     Price,  $3.50. 

Embellished  with  six   fine   cabinet  and  promenade 
portrait  studies. 


PICTORIAL  EFFECT  IN  PHOTOGRAPHY. 

By  H.  P.  Eobinson.     For  the  Art  Photog- 
rapher.   Cloth,  $1.50.    Paper  cover,  $1.00. 


THE 
PHOTOGRAPHIC  C0L0RISTS'  GUIDE. 

By  John  L.  Gihon.     Cloth  hound,  $1.50. 

The  newest  and  best  work  on  painting  photographs. 


PHOTOGRAPHIC  MOSAICS,  1885. 

Cloth  hound,  $1.00 ;  paper  cover,  50  cents. 
Back  volumess.  same  price. 

Better  than  any  of  its  predecessors. 


COPIES  MAILED  POST-PAID  ON  RECEIPT  OF  PRICE. 

EDWARD  L.  WILSON, 


Photo.  Publisher. 


1125  Chestnut  St.,  Phila. 


44  THE    PHILADELPHIA    PHOTOGKAPHEK. 


NOW  READY! 


The  most  successful  thing  yet  devised  in  the 
warfare  against  Low  Prices. 


n 


MET  I HAT  ON  THE  JRICES  OF  JHOTO&RAPHS." 


A  Leaflet  compiled  to  aid  Photographers  in 
getting  better  prices. 


It  presents  the  subject  in  a  clear,  concise  way,  that  is  sure  to 
convince  the  most  obdurate  customer. 

SEND  FOR  SAMPLE. 

You  can  have  whatever  you  want  on  the  first  and  fourth  pages 
of  the  cover  without  extra  charge.  Add  your  new  scale  of 
prices,  and  get  advertisements  to  help  pay  you.  The  rest  is 
stereotyped. 

-e — PRICES. — ^ 

1000  copies, $15  00 

3000       "  36  00 

5000      "  50  00 


EDWAED  L.  WILSON,  Publisher, 

1125  CHESTNUT  STREET,  PHILADA. 


THE  PHILADELPHIA  PHOTOGKAPHEK. 


45 


SCOVILL'S 

NEGATIVE  WASHING  BOXES. 


GUARANTEED  NOT  TO  RUST. 

It  is  necessary  at  a  certain  stage  of  development  to  remove  from  photographic  nega- 
tives all  traces  of  Hyposulphite  of  Soda,  and  it  is  not  generally  convenient  to  place  them 
where  water  will  flow  over  their  surface  a  sufficient  length  of  time  to  accomplish  this  effec- 
tually, without  injury  to  the  sensitive  film.  To  watch  the  plate  is  to  waste  time.  The 
flow  over  it  should  be  with  gentle  force.  This  can  best  be  regulated,  and  a  thorough 
cleansing  from  Hyposulphite  of  Soda  of  every  portion  of  the  negative  be  assured,  by  the 
employment  of  one  of  the  Negative  Washing  Boxes  above  pictured.  Plates  are  simply 
slid  into  the  grooves,  a  guarantee  that  the  film  will  not  be  disturbed  or  marred ;  a  bit  of 
hose  is  slipped  over  a  tap,  and  then  at  the  other  end  over  the  spout  on  the  box.  If  need 
be,  another  section  of  rubber  tubing  is  used  to  carry  off  the  waste  water  to  an  outlet. 
After  this  simple  preparation  the  Washing  Box  is  in  readiness  for  service. 


1 

PRICE 

T    T  Q  m 

<^&              J 

Lib  1 

~13N* 

1, 

for3£x    4£ 

Plates,  . 

.    $1   20 

2, 

"4x5 

ee 

.           . 

1  25 

3, 

"    4£x    6£ 

c( 

. 

1  30 

4, 

"    4£x    6J 

it 

1  35 

5, 

"5x7 

<( 

1  40 

6, 

"5x8 

(( 

1  50 

7, 

"    6Jx    8J 

u 

1  75 

8, 

"   8    xlO 

(( 

2  25 

LARGER  SIZES  MADE  TO  ORDER. 
Painted  Negative  Washing  Boxes,  dO  cts.  additional  for  each  size. 

Cloth  Rubber  Hose  Supplied  for  the  above  Boxes  at  28  cts.  Per  Foot. 
SCOVILL  MANUFACTURING  CO. 


46 


THE    PHILADELPHIA    PHOTOGEAPHER 


A  SPLENDID  THINK  FOR  PHOTOGRAPHERS. 

.3.     METALLIC 

PROTECTING    CASE, 

With  Glass  Bottle  and  Graduate  Tumbler,  for  Photo.  Developer 
and  other  Solutions. 

Those  who  have  worked  in  the 
field  have  wished  very  often  for  some 
safe  method  of  carrying  with  them 
their  developer  and  other  chemicals  in 
solution.  A  most  useful  article  is  in 
the  market  which  answers  the  purpose. 
We  allude  to  the  patent  metallic  pro- 
tecting cases  invented  for  similar  pur- 
poses. The  bottles  may  be  of  ordinary 
shape  so  they  fit  the  metal  case,  which 
latter  is  drawn  from  solid  metal,  with 
a  locking  ring  on  each  case  to  afford 
perfect  protection  for  the  bottles  con- 
taining the  liquids  which  are  trusted 
to  their  care.  They  are  made  of  dif- 
ferent sizes  :  bottles  of  one,  two,  four, 
and  eight  ounce  mixtures,  and  each 
case  is  made  adjustable  to  bottles  of 
different  lengths.  They  are  made  very 
light,  and  the  corrugation  makes  them 
so  strong  as  to  resist  crushing.  They 
can  be  packed  in  any  position.  The 
metal  is  drawn  of  even  thickness 
throughout,  by  machinery  which  has 
the  weight  of  thirty  thousand  pounds. 

The  first  figure  represents  the  case 
closed,  and  the  second  open  with  the 
bottle  therein.  The  use  of  this  arrange- 
ment assures  the  photographer  that  he 
has  a  safely  kept  stock  on  hand  of  any 
needful  solution. 

PRICE  LIST. * — ^ 


No.  1. 
No.  3  A. 
No.  4  A. 
No.  13  A 


Diameter,  lfg  in.     Length,  3%  in.    Weight,  &%  ox.    Furnished  with  1  oz. 
bottle,  each, $0  50 

Diameter,  3  in.    Length,  5%  in.    Weight,  7%   oz.    Furnished  with 
4t  oz.  bottle,  with  tumbler,  making  %  pint  flask,  each, 0  85 

Diameter,  2^    in.    Length,   7  in.     Weight,  14   oz.    Furnished  with 
8  oz.  bottle,  with  tumbler,  making  %  pint  flask,  each,.  1  10 

Diameter,  2%   in.     Length,  6  in.    "Weight,  IT  oz.    Furnished  with 
8  oz.  bottle,  with  tumbler,  making  %  pint  flask,  each,  .  1  20 


J^TRY    THEM.      NO    MORE    LEAK   OR   BREAK. 

SOOVILL  MANTTFACTUEINCr  CO., 


W.  Irving  Adams,  Agent. 


423  Broome  Street,  New  York. 


THE  PHILADELPHIA  PHOTOGEAPHER       47 

The  PHOTOGRAPHIC  WRISTS'  GUIDE 

By  the  late  JOHN  L.  GIHON. 


PHOTOGRAPHIC  COLORING.— The  growing  demand  for  a  fresh  work  on 
Photographic  Coloring,  one  that  contains  full  instructions  on  all  the  new  and  improved 
methods — for,  like  Photography  itself,  Photo.  Coloring  has  improved  and  progressed — has 
ed  to  the  publication  of  the  same. 

A  Tremendous  Demand  for  the  Book  continues.    Read  what  it  contains. 


Preface. 

Chap.  I.  On  India-ink  Work. 

II.  The  Principles  to  be  Considered 
in  the  Application  of  Colors. 

III.  The  Materials  used  in  Finishing 

Photographs  with  "Water  Colors. 

IV.  'Water-color  Painting  as  Applied 

to  Photographs. 


Chap.  V.  Relative  to  the  Use  of  Paints  that 
are  Mixed  with  Oil. 
VI.  Coloring  with  Pastels. 
VII.  The  Production  of  Ivorytypes. 
VIII.  The  Crystal  Ivorytype. 
IX.  Crayon  Work. 

X.  Negative  Retouching. 
XI.  About  Matters  so  far  Forgotten. 
XII.  Rudimentary  Perspective. 


e  last  chapter  is  on  a  subject  entirely  new  and  fresh,  and  is  finely  illustrated. 


Mailed  on  receipt  of  price,  $1.50  per  copy. 
EDWARD  L.  WILSON,  Photo.  Publisher,  1125  Chestnut  Street,  Philada. 


MA.NU"FACrURSRS   OF    PURE 


Photographic  Chemicals, 

JSIo.  622  Pace  Street,  Philadelphia. 

ggp00  The  Standard  Quality  and  Purity  of  our  Chemicals  make  them  the  most 
desirable  and  reliable  for  'photographic  use. 


-i?=3+  STOCKDEALERS   ONLY  SUPPLIED.- 


JWWPS  of  GOJ-p  and  SIJ.YPP  W^STP- 

Waste  sent  through  Stockdealers  will  receive  prompt  attention.' 


48      THE  PHILADELPHIA  PHOTOGRAPHER 


A    GREAT  SUCCESS! 


THE 


NEW  DRESDEN  ALBUMEN 


THREE  CROWN  PAPER. 


^TadeMj^ 


trsSe/W^ 


For  Sale  by  all  Photo.  Stockdealers. 
SCOVILL  MANUFACTURING  CO., 

NEW  YORK. 


THE  PHILADELPHIA  PHOTOGBAPHEK. 


49 


THE 


xxXxv 


BRUSH 


THE 


AIR 


BRUSH 


The  Air  Brush  enables  the  photographers  to  produce  large  work,  and  by  so 
doing  add  a  new  attraction  to  their  establishments.  Nearly  every  photographer  is 
certainly  competent  to  distinguish  the  difference  between  high  light  and  half  tone,  and 
between  half  tone  and  shadow,  and  can,  at  all  times  judge  as  to  the  relative  merit  of 
work ;  or,  in  other  words,  he  has  the  proper  knowledge  of  true  portraiture,  and  what 
it  should  be;  but  in  many  cases  he  is  wanting  in  execution. 

And  here  comes  the  great  claim  we  are  able  to  make  for  this  little  instrument  as  a 
photographer's  tool.  As  will  be  seen  on  examination,  it  makes  no  other  than  an 
artist's  line,  and  no  other  than  an  artist's  shadow,  so  that  when  one  becomes  able  to 
control  the  instrument,  it  is  only  necessary  to  know  what  he  wants  to  do,  in  order  to 
produce  any  given  effect ;  and  we  claim  that  almost  any  photographic  artist  can  do 
portrait  work  over  his  solars  or  contact  prints,  either  on  plain  or  albumen  paper,  in  a 
way  gratifying  if  not  surprising  to  himself,  either  in  India  ink,  water  color,  or  any 
liquid  pigment.  He  can  make  the  most  satisfactory  vignettes  to  suit  any  particular 
form  of  picture,  and  can  do  an  endless  variety  of  work  in  masking  in  backgrounds 
It  does  beautiful  work  in  the  way  of  building  lights  on  flat  negatives,  and  throwing 
cloud  effects  in  view  work.  In  a  word,  it  puts  into  the  artist's  hand  at  once,  many 
years  of  practised  manipulation  which  few  would  care  to  invest  the  large  amount  of 
time  and  study  to  attain.  The  instruction  book  which  will  accompany  each  instru- 
ment, will  give  such  information  as  will  apply  directly  to  the  use  of  the  Air  Brush, 
together  with  much  general  information  bearing  on  the  subject.  Illustrated  catalogue 
and  specimen  of  work  furnished  free  on  application. 

AIR  BRUSH  MFG.  CO. 

50  Nassau  St.,  Rockford,  III. 


50 


THE    PHILADELPHIA    PHOTOGEAPHEE, 


GIHON'S 

CUT-OUTS 

An  Entirely  New  Variety  for 

Printing  Medallion  Pictures. 


Are  the  very  best  that  are  made,  and  are  now  without  a  rival  in  the  market.  They  are  clean 
cut,  most  desirable  shapes  and  sizes,  and  made  of  non-actinic  paper,  manufactured  specially  for  the 
purpose.  Each  package  contains  30  Cut-Outs,  or  Masks,  with  corresponding  Insides,  assorted  for 
five  differently  sized  ovals  and  one  arch-top. 

Price,  $1.00  per  Package.    Sent  by  mail  on  receipt  of  price. 

Parties  wishing  special  sizes,  or  large  lots  of  a  few  sizes,  may  have  them  cut  to  order  promptly, 
by  addressing  the  manufacturer.      No  lot  costing  less  than  $1.00  made  at  a  time. 
^g*"No  printer  should  attempt  to  make  Medallion  Pictures  without  them. 

They  Have  no  Equal  for  Quality. 

Beware  of  spurious  imitations  made  of  common  paper,  full  of  holes,  badly  cut,  and  odd  shapes  and 
sizes.  Ask  your  Stock-dealer  for  GIHON'S  CUT-OUTS,  and  see  that  they  are  in  his  envelope,  with 
instruction  circular  included.  The  recent  packages  are  composed  of  an  entirely  new  variety  and  ot  a 
new  paper.     TRY  THEM. 

Promenade  Size  now  Eeady,        Sold  Separately  at  50  cents  per  Dozen. 


GIHON'S  OPAQUE 

designed  for  Completely  Obscuring  the  Imperfect  Backgrounds  of  Copies,  Retouching  Nega- 
tives, Faulty  Skies  in  Landscapes,  Coating  the  Inside  of  Lenses  or  Camera  Boxes, 
Backing  Solar  Negatives,  Covering  Vignetting  Boards, 
And  for  Answering  all  the  Requirements  of  the  Intelligent  Photographer  in  the  Production 

of  Artistic  Results  in  Printing. 

Wherever  you  want  to  keep  out  Light,  use  Opaque. 

IT  IS  APPLIED  WITH  A  BRUSH,  DRIES  QUICKLY  A3VD  STICKS. 


CUT-OUTS  (thirty),  $1.00.         OPAQUE,  SO  Cents. 

FOR  SALE  BY  ALL  DEALERS. 


Address  all  orders  to 


SC0VILL  MANUFACTURING  CO.,  New  York. 


THE    PHILADELPHIA    PHOTOGEAPHEE.  51 

EXTRA  &fj&M  BRILLIANT 

4^C/MEN  PA?^ 

Ever  Offered  to  Photographers. 

WHITE,  PINK,  PENSE. 


FREE  FROM  BLISTERS  AND  IMPERFECTIONS. 


A  NEW  PAPER.    NOW  EEADY. 

EAGLE  SATIN  FINISH, 

IN  PENSE  AND  PEARL. 

Although  my  importations  of  paper  have  had  a  most  satisfactory  sale,  and  the  old  favorite 
brands  will  be  continued  in  the  market  of  the  same  quality,  I  have  a  New  Brand  which  I  offer 
for  public  favor  which  I  believe  to  be  SOMETHING-  -SUPERIOR. 

^$36.00  A  REAM.^       «^A  REAM  $36. 00.°®® 

FOB  SALE  BY  ALL  DEALEBS. 

IMPORTED  BY 

G.  GENNERT, 

54  B.  TENTH  ST.,  NEW  YORK. 

FOR   SALE   BY    ALL   DEALERS. 


EASTERN  AGENT  FOR  THE  CRAMER  DRY-PLATES. 


52  THE    PHILADELPHIA    PHOTOGRAPHER. 

A.  M.  Collins,  Son  &  Co. 

MANUFACTURE  ALL    KINDS    OF 

CARDS  AND   CARDBOARDS 

FOE 

PhotqgrapherS 


AND 


MATS.  MOUNTS.  AND  ENVELOPES 


FOR 


FERROTYPES. 


OFFICE  AND  WAREHOUSE, 

No.  527  ARCH  STREET, 

PHILADELPHIA. 


Price  Lists  may  be  had  by  intending  purchasers  on  application 

to  us,  or  to  all  Photographic  Merchants,  through  whom 

your  favors  are  respectfully  solicited. 


THE    PHILADELPHIA    PHOTOGEAPHER 


53 


THEM! 


WAYMOUTH'S  VIGNETTE  PAPERS. 


No.  15H, 

THE 

Ormsliy  Pattern, 

PEAR  SHAPE 

Now  Ready, 

$1.00  PEE  DOZ. 


They  are  not  clumsy ;  do  not 
break;  are  always  ready ;  cost 
but  little,  and  are  easy  of  appli- 
cation to  any  negative.  They 
need  but  one  adjustment  to  print 
any  quantity.  They  entirely 
do  away  with  all  the  old  and 
troublesome  methods,  either 
wood,  metal,  or  cotton. 


19  Sizes 


ARE 


Now  Made 

PEAR  SHAPE. 

Prices  Below. 


They  are  printed  in  black 
for  ordinary  negatives,  yellow 
bronze  for  thin  negatives,  and 
red  bronze  for  still  weaker  ones. 
Directions  for  use  accompany 
each  parcel. 


SEE  WHAT  THOSE  WHO  USE  THEM  SAY. 

The  Vignette  Papers  are  just  the  thing.  They  are  a  great  improvement,  and  will  print 
in  little  more  than  half  the  time  required  for  others.  The  results  are  everything  that  can 
be  desired,  as  you  can  see  by  samples  inclosed.  E.  D.  OKMSBY,  San  Francisco. 

FROM  PROFESSIONAL  AND  AMATEUR  PHOTOGRAPHERS. 

"  First-class." — "  The  sample  sent  answers  perfectly." — "  I  consider  them  first-rate  articles." — "  They  answer  the 
purpose  admirably." — "They  are  the  best  vignettes  I  have  ever  had,  and  as  you  can  print  in  full  sunlight,  they  are  a 
great  saving  of  time." — "  They  could  not  be  better,  oblige  me  with  another  packet." — "  I  find  them  excellent,  giving 
much  softer  pictures  than  the  old  way." — "I  have  tried  one  of  the  Vignette  Papers,  and  like  it  much;  send  me 
packets  two  and  three." — "  I  am  much  pleased  with  them,  and  shall  thank  you  to  send  me  another  packet." — "I  did 
not  need  any  copies  of  testimonials,  having  well  known  by  experience  that  your  Vignette  Papers  were  superior  to 
anything  I  have  ever  used."— '*  I  found  those  you  sent  before  excellent." — "  Vignetting  Papers  received  and  tested  ; 
can  t  be  beat.  I  use  by  cutting  an  opening  in  a  piece  of  card-board  and  tacking  to  the  printing-frame,  when  I  am  ready 
for  printing  vignettes  in  the  very  best  manner." — "Waymouth  Vignette  Papers  I  have  tried,  and  they  are  just  what  I 
have  been  wanting  for  years." 

THOSE  WHO  SELL  THEM! 


ALL  STOCK-DEALERS 


INCREASE 
THEIR 


ORDERS  LARGELY 


EVERT 
MONTH 


Better  than  any  patent  machine— trouble,  and  sell  better  every  month. 

PRICES: 

In  parcels  containing  one  dozen,  assorted,  from  Nos.  1  to  5 $0  50 

In  parcels  containing  one  of  each  size,  Nos.  1  to  15,  assorted  colors 1  00 

Assorted  sizes  and  colors,  by  number,  per  package  of  15 1  00 

Nos.  1,  2,  3,  4,  and  5,  assorted  sizes  and  colors,  for  Cartes,  by  number,  per  doz 50 

*     a' Z>      •  12,  and  13,     »          »                  »       Large  Cartes  and  Victorias  by  number,  per  doz 75 

"     ?!.   '»®'  *4>  15>  an<*  15^>  assorted  sizes  and  colors,  Cabinets  and  Whole-size,  by  number,  per  doz 1  00 

"     16>  17»18.                                »                 »             >»       Half           »               »                     »               »       125 

Wnen  ordering,  state  the  number  and  color  you  want. 

EDWARD  L.  WILSON,  Manufacturer,  1125  Chestnut  St.,  Philad'a. 

FOR  SALE  BY  ALL  DEALERS. 

No.  18,  PEAR  SHAPE,  LAST  INTRODUCED,  $1.25. 


54  THE    PHILADELPHIA    PHOTOGRAPHER 

HANCE'S 

— SPECIAL 


Sir  EOX A  J-j  TIES. 

I  Anderson's  Portrait  Collodion. 
This  is  especially  a  Winter  Collodion,  and  guaranteed  to  work  with  the  loveliest  har- 
mony, and  the  most  exquisite  softness,  and  freedom  from  all  the  winter  troubles 
which  Photographic  Collodion  is  heir  to.     fy^°  None  genuine  unless  the  signature  of  Elbert 
Anderson,  the  great  dark-room  operator,  author,  etc.,  is  pasted  over  tne  cork  of  the  bottle. 

II 


Ground  Glass  Substitute. 


Is  an  indispensable  article  in  the  photographic  gallery.     There  are  so  many  uses 
to  which  it  can  be  applied  that  a  photographer  having  once  given  it  a  trial,  will 

never  be  without  it,  as  there  is  nothing  known  that  will  take  its  place. 

The  substitute  is  in  the  form  of  a  varnish,  is  flowed  and  dried  the  same  as  varnish,  but 

dries  with  a  granulated  or  ground-glass  surface. 

For  Ground  Glass  for  Cameras. 


For  Vignette  Glasses. 
"    a  Retouching  "Varnish. 
"    Softening  Strong  Negatives. 
"    the  Celebrated  Berlin  Process 


"    Glazing  Sky  and  Side  Lights. 

"    Obscuring  Studio  and  Office  Doors. 

"    Printing  "Weak  Negatives. 

All  imitators  have  given  it  up.     They  can't  make  it.     GIVE  IT  A  TEIAL. 

PRICE,  50  CENTS  PER  BOTTLE. 


mHance's  Delicate  Cream  Gun 
C/OttOll  Is  the  King  Cotton,  and  has  no  peer. 

Prepared  with  particular  care,  warranted  free  from  acid,  and  very  soluble.  It  has  made 
its  way  steadily  and  surely  into  most  of  the  principal  galleries  in  the  country,  where  parties 
prefer  to  make  their  own  collodion,  and  its  superior  qualities  are  shown  in  the  medals 
awarded  at  the  Centennial,  Vienna,  and  Paris  Exhibitions  fur  photographs  made  with  col- 
lodion in  which  it  was  used. 

It  is  especially  adapted  to  the  Rembrandt  style,  and  light  drapery.  Its  sensitiveness 
renders  it  particularly  adapted  for  children  or  any  work  that  requires  short  exposure,  though 
admirable  as  well  for  all  work. 

PRICE,  80  CENTS  PER  OUNCE. 

Also,  TRASK'S  FERROTYPE" 
HANCE'S  DOUBLE  IODIZED 

PRICE,  $1.50  PER  POUND. 

FOE  SALE  BY  ALL  STOCK-DEALERS.  NO  RETAIL  ORDERS  FILLED.  ORDER  OF  TOUR  DEALER 

SCOVILL  MFG.  CO.,  TRADE  AGENTS,  NEW  YORK. 


[COLLODION 


THE    PHILADELPHIA   PHOTOGEAPHEE.  55 


JAMES   INGLIS 


MANUFACTURER  OF  THE 


Inglis  Dry  Plates, 

ROCHESTER,  N.  Y. 

These  plates  are  of  a  very  fine  quality,  and  are  capable  of 
producing  any  effect  desirable.  I  have  never  seen  a  plate  that 
requires  so  little  retouching,  neither  have  I  ever  come  across 
one  so  quick  for  sale. 

D  EVELO  PE  R. 

No.  1.  No.  2. 


Water, 12  ozs. 

Sulphite  of  Soda,    ...  2    " 

Citric  Acid, 60  grs. 

Bromide  of  Ammonium,   .  20    " 

Pyrogallic  Acid,       ...  1  oz. 


Water, 12  ozs. 

Sulphite  of  Soda,     ...       2    " 
Carbonate  of  Potassium,  .        3    " 


Put  1  oz.  of  No.  1  into  10  ozs.  of  water,  and  the  same  of  No.  2 
into  another  10  ozs.  of  water,  and  use  equal  parts  for  develop- 
ment.    For  quicker  development  use 


Pyro, 1  oz. 

Sulphite  of  Soda,     .     .     .       4   " 
Hot  Water, 48  ozs. 


Washing  Soda,    ....       4  ozs. 
Hot  Water,    .     .     .     .     .     ^8  ozs. 


Use  equal  parts.  A  drop  or  two  of  a  50-gr.  solution  of  Bromide 
*)f  Ammonium  will  give  more  contrast  and  clearer  shadows.  It  is 
well  to  keep  the  developer  a  little  warm  in  cold  weather. 


THERE  IS  NO  FEAR  OF  FRILLING. 


SCOVILL  MANUFACTURING  CO,  AGENTS. 

And  For  Sale  by  most  of  the  Dealers. 


56 


THE    PHILADELPHIA    PHOTOGKAPHEP. 


JOHN  G.  HOOD. 


ESTABLISHED    1865. 


WM.  D.  H.  WILSON. 


.nvsoN-  HOOD  & 

\Xj  V  ^  825  Arch  Street,  V^  Q 

PHILADELPHIA, 

SOLE  AGENTS  IN  THE  UNITED  STATES  FOR  THE 


Centennial,  1876. 


Centennial,  1876. 


Ross'  Portrait  and  View  Lenses. 


"WE  HAVE 

NOW 
IN  STOCK 


Portrait  Lenses,  from  1-4:  to  8  xlO. 
Cabinet  Lenses,  los,  3  and  3. 
Card  Lenses,  Nos.  1,  3,  and  3. 
Triplets,  Nos.  1,  3,  3,  4,  5,  6,  and  7. 
[  Sy mmetricals.     Rapid  Symmetrical. 


Instantaneous  Doublets,  all  sizes. 
Medium  Angle  Doublets,  all  sizes. 
Large  Angle  Doublets,  all  sizes. 
Stereographic  Lenses,  all  sizes. 
New  Universal  Lens. 


Numerous  testimonials  pronounce  them  to  be  the  best  as  well  as  the  cheapest  Foreign  Lenses  ever 
offered  to  the  American  Photographer.    We  will  mail  price  list  on  application,  and  promptly  fill  all  orders. 


Steinheil's  Sons' 


—NEW— 
APLANATIO 


Lenses. 


We  now  have  a  full  stock  of  these  Celebrated  Lenses,  at  the  following  prices . 


No.  1—  1-4:  size, Z%  inch  focus, $25  00 

»    3—  1-3      »       5#        »  »        30  00 

»    3—  4-4*.     »       7  »  »        45  00 


No. 


4—  8x10  size,...  10#  inch  focus,. ..$60  00 

5—10x13    »     ...i3y2     »        »   ro  oo 

6—13x16      »      ...16#       »  »     ....110  00 

Nos.  1  and  3  are  in  matched  pairs  for  stereoscopic  work. 

We  feel  sure  that  at  least  one  of  these  lenses  is  needful  for  the  successful  prosecution  of  your  busi- 
ness, and  so  solicit  your  orders.  Always  in  stock,  to  suit  above  Lenses,  CAMERA  BOXES  made  by 
AMERICAN  OPTICAL  CO.,  SEMMENDINGER,  ANTHONY,  BLAIR,  etc. 

WE  KEEP  IN  STOCK  FULL  ASSORTMENT  OF 

AMATEUR  PHOTO.  OUTFITS 

DRY    PLATES    OF   ALL    MAKES. 

N.  P.  A.  EAGLE  and  S.  &  M.  PAPEE,  PER  REAM,  $30.00. 

Any  article  needed  we  can  supply,  as 
"WE  MANUFACTURE,  IMPORT,  AND  DEAL  IN  ALL  KINDS  OF 

Photo.  Goods,  Frames,  Stereoscopes  and  Views, 

At  prices  as  low  as  are  consistent  with  the  quality  of  goods  furnished.  We  are  indebted  to  our 
customers  for  the  patronage  during  the  past  Nineteen  Years,  and  our  efforts  shall  be  to  merit  a  con- 
tinuance of  it.  . 

Illustrated  Price  Lists  supplied  free.    Correspondence  solicited. 


THE    PHILADELPHIA    PH0T0GEAPHEE. 


57 


GET  THE  BEST ! 


PRICES  TO  PHOTOGRAPHERS : 

Per  each  Hundred, 

Per  500,  from  the  same  picture, 
Per  1000   " 


$1  50 

7  50 

12  00 


With  SSyi  per  cent,  commission  off,  to 
Photographers  on  all  orders  of  more    J^^  & 
than  500.   Mo  less  than  100  made,  s^ 

SPECIALTY: 
My  Most  ARTISTIC 
DESIGNS  of  own 

make.  S*^ 


Taken  from  Cabinet 
and  Card  Size  Bust 
Pictures  only. 

My  Portraits  are  endorsed  by 
the  following 
leading  business  firms: 


G.  Cramer  Dry  Plate  Works 

John  A.  Scholten,  Photographer, 

F.  W.  Guerin, 

Latour, 

E.  Uhlmann, 

J.  F.  Eyder, 

P.  S.  EyderJ 

Harry  Sutter,  Photographer, 

Theo.  Lilienthal,  " 


St.  Louis.  - 
St.  Louis. 
St.  Louis. 
Sedalia. 
St.  Joseph. 
Cleveland. 
Syracuse,  N.  Y. 
Milwaukee. 
New  Orleans. 


DOUGLASS,  THOMPSON  &  CO.,  Sole  Apnts  for  toe  State  of  111. 


To  better  introduce  the  novelty,  it  is  desirable  that  each  gallery  ordering  should  have  a 
special  design,  with  firm  name  and  address  thereon,  so  as  the  more  readily  to  advertise 
themselves  and  inform  the  public  where  tame  can  be  procured.    Such  design  will  cost  $6. 

bend  for  samples,  and  address  to  the  Main  Office,  1423  Chestnut  St. 

C.  H.  TONNDORFF,  Original  Inventor, 

1546  CliotUeau  Ave.,  St.  Louis,  Mo. 


58 


THE  PHILADELPHIA  PHOTOGEAPHEE. 


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THE   PHILADELPHIA   PHOTOGEAPHEE.  59 

THE  PLATINOTYPE. 

(PATENTED.) 

WILLIS  &  CLEMENTS,  Proprietors,  25  N.  Seventh  St.,  Philadelphia. 


Endorsed  by  SARONY,  GUTEKUJSTST,  and  many  others. 


This  process  is  best  adapted  for  Solar  Enlargements,  large  contact  Portrait  Work,  8  x  io  and 
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THE    PHILADELPHIA    PHOTOG  KAPHflti. 


61 


JSJJ7  THIS  SEASON 

TEE  BEST  BOOK   FOR  AMATEURS  AJVD  ALL   IS 

ROBINSON'S 

PICTORIAL  EFFECT  IN  PHOTOGRAPHY. 

Should  be  Read    by  Every  Negative  Maker  Practising 
In  and  Out  of  Doors. 

NOW  IS  THE  TIME  TO  READ  IT. 


CONTENTS. 


CHAP. 

I.  Introductory. 
II:  The  Faculty  of  Artistic  Sight. 

III.  Balance  of  Lines  and  Contrast. 

IV.  Balance — Example. 

V.  Balance — Examples — {continued). 
VI.  Unity. 
VII.  Examples — Expression. 
VIII.  Practice — The  Choice  of  a  Subject. 
IX.  Simple  Rules. 
X.  Figures  in  Landscape — Truth. 
XI.  The  Sky. 
XII.  The  Legitimacy  of  Skies  in  Photographs. 

XIII.  The  Composition  of  the  Figure. 

XIV.  Pyramidal  Forms. 
XV.  Variety  and  Repetition. 

XVI.  Variety  and  Repetition  (continued) — Repose — 
Fitness. 


CHAP. 

XVII.  Portraiture. 

XVIII.  Portraiture — The  Management  of  the  Sitter. 
XIX.  Portraiture — The  Pose. 
XX.  Portraiture — Groups — Proportion. 
XXI.  Backgrounds. 
XXII.  Accessories. 

XXIII.  Some  Old  Notions  Touching  Portraiture. 

XXIV.  Chiaro-oscuro. 

XXV.  Chiaro-oscuro — Detail  or  Definition. 
XXVI.  Chiaro-oscuro — Various    Arrangements    ot 

Light  and  Shade. 
XXVII.  Chiaro-oscuro  —  Various    Arrangements    of 
Light  and  Shade  (cofitinued ). 
XXVIII.  Chiaro-oscuro — Breadth. 
XXIX.  Chiaro-oscuro — Portraiture — The  Studio. 

XXX.  Chiaro-oscuro — General  Considerations. 
XXXI.  Conclusion. 


No  one  can  study  this  excellent  work  without  being  better  able  to  pose  and 
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unskilled  comparatively,  hardly  realize  how  much  there  is  to  learn  that  is  of 
value  to  them.  This  book  will  open  their  eyes  and  enlighten  them,  if  they 
can  but  see  when  their  eyes  are  open. 

IT  IS  THE  MOST  POPULAR  PHOTO.  WORK  EVER  PUBLISHED  IN  EUROPE. 

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of  all  photographic  books.  Its  pages  are  full  to  a  letter  of  choice  and  valuable 
instruction.  If  there  is  one  who  has  not  read  it  I  would  advise  him  to  do  so  at  once." 
— G.  F.  E.  Pearsall,  Brooklyn,  N.  Y. 

"I  would  advise  all  photographic  art  students  to  obtain  a  copy  of  Mr.  H.  P. 
Robinson's  Pictorial  Effect  in  Photography,  one  of  the  best  and  most  complete  works 
ever  published  on  the  subject  for  the  benefit  of  photographers.  Read  it  over  and 
over.     Every  page  teaches  a  grand  lesson." — James  Mullin,  Lexington,  Kentucky. 


EDWAED  L.  WILSON,  Publisher,  1125  Chestnut  St.,  Philada. 


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ARTISTS  AID   OTICIANS, 

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THE    PHILADELPHIA    PHOTOGEAPHEE. 


63 


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64 


THE    PHILADELPHIA    PHOTOGRAPHER. 


OPTICAL  LANTERNS 

AND 

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GALVESTON,  TEXAS. 


THE 


EDITED    BY    EDWARD    L.    WILSON'. 


Vol.  XXII. 


FEBRUARY,   1885. 


No.  254. 


PHOTOGRAPHY  AT  THE  NEW 
ORLEANS  EXHIBITION. 

Still  the  work  goes  on.  The  pounding 
and  the  fixing  continue,  and  the  work  of 
preparation  is  not  ended.  Long  since 
was  the  World's  Industrial  and  Cotton 
Centennial  Exhibition  completed  accord- 
ing to  the  ideas  of  the  originators,  but 
so  swollen  has  it  been  by  additional  appli- 
cation for  space,  and  for  the  display  of  new 
and  interesting  departments  of  our  country's 
products,  that  the  work  of  the  laborer  here 
has  been  more  than  tripled,  and  conse- 
quently delay  in  completion  was  inevitable. 
At  this  writing,  however,  the  work  is  almost 
finished,  and  in  a  few  days  announcements 
will  be  made,  even  before  this  meets  the 
eyes  of  our  readers,  that  the  grand  exposi- 
tion is  a  feat  accomplished.  By  that  time, 
too,  the  stormy  and  unphotographic  weather 
which  has  been  reigning  here  for  nearly  a 
month,  will  be  ended,  sunshine  will  once 
more  rule,  and  happiness  reign. 

A  good  many  ask,  "  How  does  this  ex- 
hibition compare  with  the  Centennial  ?" 
It  is  about  as  difficult  a  question  to  answer 
as  the  one  we  often  hear  asked  of  the 
European  traveller,  "Which  cathedral  do 
you  think  the  finest,  that  of  St.  Peter's  at 
Eome,  or  the  splendid  marble  structure  at 
Milan  ?"  for  really  there  is  no  comparison. 
In  many  respect  it  must  be  acknowledged 
that  this  Exposition  is  far  inferior  to  the 
Centennial.     Its  buildings  are  of  wood,  as 


it  comes  from  the  saw-mills,  while  those  at 
Philadelphia  were-  of  iron.  Its  exhibits, 
however,  are  in  many  respects  superior  to 
any  ever  before  seen,  because  people  im- 
prove as  they  have  experience,  and  improve 
very  rapidly.  There  will  not  be  the  beau- 
tiful variety  of  fine  art-productions  here 
that  there  was  in  Philadelphia,  although 
the  exhibition  will  be  fine.  But  when  we 
come  to  the  Government  and  States'  depart- 
ment, where  almost  every  State  of  our 
Union  rivals  its  neighbors  in  exhibiting  its 
resources  and  products  of  all  kinds,  from 
the  tiniest  seed  to  the  grandest  railway  en- 
terprise, and  where  the  parent  government 
makes  a  magnificent  display  of  the  work 
and  results  of  its  many  departments,  it 
exceeds  all.  Photographically  speaking, 
some  of  these  exhibits  are  most  picturesque. 
The  grains  and  grasses  of  our  land  have 
been  made  to  cover  pagodas,  pyramids, 
obelisks,  and  what  not,  under  the  careful 
hands  of  artists  who  have  certainly  exer- 
cised great  care  and  skill  in  their  arrange- 
ment. They  are  almost  indescribable.  We 
see  wheat,  oats,  and  barley  arranged  in 
mottoes  and  varieties  of  designs  almost 
without  end,  and  corn  as  well,  made  to 
assume  more  picturesque  shapes  and  pat- 
terns than  one  can  ever  imagine  possible. 
Not  only  are  these  forms  beautiful,  but 
they  are  arranged  with  excellent  taste  and 
startling  effect.  Our  readers  will  see  the 
proof  of   this  presently  in   pictures  which 


34 


THE   PHILADELPHIA    PHOTOGEAPHEE. 


will  appear  in  our  magazine.  When  we 
go  out  of  doors,  what  was  once  a  flooded 
desert-looking  plantation,  almost  always 
under  water,  has  been  transformed  into  a 
fairy  garden.  Here  we  see,  even  now,  grow- 
ing with  all  the  force  of  springtime,  the 
beautiful  plants,  shrubs,  and  trees,  from  the 
tiniest  cactus  of  Mexico  to  the  colossal 
groves  of  live  oaks  which  are  to  the  manor 
born.  The  scene  is  a  striking  and  beauti- 
ful one — one  not  possible  to  observe  com- 
bined in  any  other  part,  for  many  of  these 
plants  and  shrubs  have  been  brought  here 
from  distant  lands  and  sections,  transplanted 
and  made  to  grow  in  this  wonderful  soil 
and  beneath  this  genial  sunshine.  It  is  a 
marvel  indeed.  But  what  has  all  this  to 
do  with  photography,  except  to  suggest  to 
the  minds  of  our  readers  how  numerous  and 
beautiful  are  the  subjects  for  the  camera 
hereabouts? 

As  to  the  display  of  our  art  productions, 
it  is  immense,  and  almost  past  finding  out. 
This  last  assertion  is  literally  true,  for  as  I 
stated  before,  in  a  previous  letter,  the  tardi- 
ness with  which  the  management  responded 
to  our  offer  to  work  up  and  superintend  a 
photographic  display,  caused  a  good  many 
photographers  to  fear  that  they  would  miss 
the  opportunity  of  displaying  their  work 
here.  Hence,  being  invited  by  the  com- 
missioners from  their  several  States,  yielded 
to  the  invitation  to  make  their  display  in 
the  State  Departments,  and  so  our  photo- 
graphic section  proper  was  robbed  of  many 
of  its  excellent  exhibits.  So  we  hardly 
expect  that  the  collective  display  will  be 
as  fine  as  that  at  Philadelphia — a  natural 
result.  But  if  it  were  a  collective  ex- 
hibit it  would  far  exceed  anything  ever 
seen  on  the  face  of  the  earth  in  the  line  of 
photography.  Some  most  marvellous  things 
are  here.  The  display  of  transparencies  is 
particularly  wonderful,  and  we  understand 
it  is  to  be  largely  increased.  Landscape  pho- 
tography never  had  such  a  showing  as  it 
has  here.  Industrial  photography  is  repre- 
sented to  a  wonderful  degree.  The  amateur 
societies  have  responded  nobly  to  the  re- 
quest for  exhibits  from  their  members,  and 
the  collection  is  very  beautiful  and  gratify- 
ing. Photo-mechanical  and  photo-repro- 
ductive processes  are  also  splendidly  repre- 


resented  by  various  firms,  and  in  almost 
every  State  and  in  every  department  of  the 
Government,  we  see  photography  repre- 
sented or  made  use  of  for  some  excellent 
purpose.  Thus,  a  true  lover  of  photogra- 
phy is  made  very  proud  of  his  art,  and  goes 
about  with  a  happy  heart,  with  strength 
and  full  of  hope  for  its  future. 

Among  the  landscape  photographs,  the 
collection  of  Mr.  "W.  H.  Jackson,  of  Den- 
ver, Col.,  may  be  classified  as  one  of  the 
best.  Mr.  Jackson  has  two  opportunities 
here  for  displaying  his  talent  and  art — one 
in  the  department  of  the  Baltimore  &  Ohio 
Bailroad,  in  the  Maryland  State  Section, 
and  another  in  the  regular  photographic 
department.  The  former  collection  is  in- 
tended to  illustrate  the  picturesqueness  of 
the  railroad  named,  and  embraces  some 
magnificent  views.  One  of  these  is  a  pan- 
oramic view  in  five  sections,  which  is  a 
marvel  of  careful  negative  making,  artistic 
choice,  and  beautiful  printing.  Others  rep- 
resent the  gaps,  horse-shoes,  valleys,  the. 
streams,  and  the  natural  curiosities  along 
the  Baltimore  and  Ohio  Kailway,  and  are 
superb.  We  ought  not  to  leave  this  fine 
display  without  mentioning  Mr.  Jackson's 
frames.  They  are  very  appropriate,  being 
of  broad,  flat  wood,  as  a  rule,  and  decorated 
with  emblems  of  the  products  of  our  coun- 
try, such  as  grains,  grasses,  fruits,  etc. — a 
capital  idea.  Mr.  Jackson's  exhibit  in  the 
Photographic  Department  proper  embraces 
a  fine  collection  of  his  superb  views  of 
Colorado,  Arizona,  New  Mexico,  and  old 
Mexico.  Many  of  his  life  groups  in  the 
latter  collection  are  exquisite,  and  give  us 
better  ideas  of  the  people  than  any  that 
have  been  produced. 

ISText  to  Mr.  Jackson  in  the  State  ex- 
hibits we  may  mention  the  display  of  Mr. 
F.  Jay  Haynes,  of  Fargo,  Dakota.  His 
pictures  are  largely  of  the  National  Park 
or  Yellowstone  country,  and  are  truly 
magnificent.  Our  readers  are  already  fa- 
miliar with  the  pictures  of  this  wild  and 
picturesque  region,  so  that  we  need  only 
add  that  the  work  of  Mr.  Haynes  is  first- 
class  photography,  and  equal  to  anything 
else  in  the  Exhibition.  Mr.  Haynes  and 
Mr.  Jackson  were  both  here  in  person  a 
week  ago  superintending  their  exhibits  and 


THE  PHILADELPHIA  PHOTOGEAPHEE. 


35 


seeing  them  hung.  In  the  Photographic 
Department  proper,  hung  upon  the  alcove 
next  to  Mr.  Jackson's  is  the  display  of  Mr. 
I.  W.  Taher,  of  San  Francisco.  Mr. 
Taber's  display  is  very  much  the  same  as 
that  made  by  him  at  the  Louisville  Exposi- 
tion, and  includes  not  only  a  very  fine  line 
of  portraits,  but  a  magnificent  collection  of 
landscapes,  made  on  his  own  plates,  in  the 
Yosemite  Valley,  of  the  Bay  of  San  Fran- 
cisco, of  the  City  of  San  Francisco,  and  other 
California  localities — a  magnificent  display, 
indeed,  to  which  we  may  have  to  revert 
again  presently.  Next  to  the  exhibition  of 
Mr.  Taber  is  that  of  Mr.  L.  W.  Blanks,  of 
Vicksburg,  Miss.,  whose  exhibit  of  quick 
work  of  river  scenery,  Southern  views,  and 
other  picturesque  bits  are  very  creditable 
to  him.  Following  these  are  long  lines  of 
landscapes  and  portraits,  which  are  being 
hung  at  the  time  of  this  writing,  and  which 
we  cannot  catalogue  until  our  next  letter. 

There  is  a  very  fine  display  here  of  pho- 
tographic material  and  apparatus  also,  but 
as  it  is  also  incomplete,  we  may  only  allude 
at  present  to  two  or  three  of  the  collections. 
That  of  the  Air-brush  Manufacturing  Com- 
pany is,  of  course,  fine;  no  one  would  ex- 
pect anything  else.  It  is  superintended 
personally  by  Mrs.  Walk  up  (the  wife  of 
the  secretary  of  the  company),  who  demon- 
strates the  use  of  the  air-brush  to  the  pub- 
lic from  day  to  day,  and  explains  the  splen- 
did specimens  which  hang  near  her,  pro- 
duced by  the  instrument.  Mr.  E.  K.  Hough 
also  demonstrates  the  use  of  the  air-brush 
at  the  same  locality.  The  case  of  card- 
mounts  exhibited  by  Messrs.  A.  M.  Collins, 
Son  &  Co.,  of  Philadelphia,  is  a  wonder  of 
its  kind.  We  were  never  so  impressed  with 
the  wondrous  growth  of  styles  and  quality 
in  this  direction  as  we  were  in  looking  at 
this  case  soon  after  it  was  opened.  Every 
size,  color,  shape  and  form  invented  for 
the  use  of  the  photographer  and  the  ama- 
teur artist  are  here  displayed  in  beautiful 
designs  and  combinations.  One  of  the 
latest  novelties  that  we  noticed  was  that  of  a 
cabinet  mount  with  an  irregular  edge,  curved 
or  corrugated,  as  you  please.  The  centre  of 
the  case  contains  a  novel  and  original  de- 
sign in  the  shape  of  an  arch,  whose  keystone 
is  a  beautiful  card-mount  labelled  "  Penn- 


sylvania," and  around  the  stop  and  down  its 
sides  are  tiny  cards  of  various  colors,  with  the 
names  of  our  States  and  Territories  printed 
thereon.  It  is  quite  ingenious.  Near  here 
Mr.  T.  H.  McCollin,  of  Philadelphia,  makes 
a  grand  display  of  solar  prints  and  blue 
prints  which  are  very  creditable  to  him. 
It  was  prepared  at  great  expense,  and  has 
been  arranged  with  great  care  by  his  repre- 
sentative, Mr.  Janes.  We  notice  in  this 
neighborhood  exhibits  under  way  from 
the  Scoville  Manufacturing  Co.,  Messrs. 
E.  &  H.  T.  Anthony  &  Co.,  the  Blair 
Tourograph  Co.,  Mr.  W.  F.  Ashe,  and 
many  others,  all  of  which  we  must  cata- 
logue at  another  time,  since  our  space  is 
coming  to  an  end. 

While  the  photographic  department  is  a 
little  behindhand,  it  is  no  more  so  than 
many  of  the  others,  and  by  the  time  the 
flood  of  people  interested  in  it  arrives 
there,  it  will  be  in  good  trim,  and  will 
make  a  creditable  appearance.  We  trust 
that  photographers  will  visit  it  and  under- 
stand its  advantages,  and  come  away  from 
it  after  they  have  done  so,  with  strong 
hearts  and  improved  minds  and  resolutions 
to  elevate  and  dignify  our  art  as  long  as 
they  have  connection  with  it.  We  had  it 
on  our  mind  to  describe  some  of  the  novel- 
ties of  the  work-rooms  of  the  Centennial 
Photograph  Company,  but  as  we  shall  next 
month,  or  soon  after,  present  to  our  readers 
a  few  pictures  of  the  grounds,  made  by  this 
Company,  we  defer  the  descriptions  referred 
to  until  that  time.  Meanwhile,  we  extend 
a  cordial  invitation  to  all  photographers 
who  visit  the  Exposition  to  come  and  see 
for  themselves. 

THE  CORRECT  WAY  OF  MIXING 

THE  POTASSIUM  SALTS  IN 

COLLODION. 

BY  D.  BACHRACH,  JR. 

My  attention  was  called  to  an  article  by 
Mr.  Spencer,  in  the  January  number  of  this 
journal,  in  which  allusion  was  made  and 
commendation  given  to  a  formula  which  we 
send  out  with  Schering's  celloidine,  for 
which  we  have  the  agency.  Mr.  Spencer 
failed,  however,  to  give  the  formula  (which 
is  not  Schering's,  but  my  own)  as  he  might 


36 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


have  done,  it  being  open  for  the  benefit  of 
the  craft.  The  following  is  the  recipe  in 
full,  so  it  will  not  be  necessary  to  buy  the 
article  from  us  in  order  to  get  the  formulae. 
Two  formulae  are  here  given,  No.  1  (the 
old  formula)  that  is  more  ripe  and  will  work 
&%  once,  and,  as  will  be  seen,  is  somewhat 
thinner  than  No.  2,  which  is  a  good  keeping 
collodion.  For  immediate  use  No.  1  is  per- 
haps the  best,  while  some  prefer  a  mixture 
of  the  two.  For  microscopic  work  celloid- 
ine  is  far  preferable  to  pyroxline,  on  account 
of  its  fine  film. 

No.  1. 

Alcohol  (Atwood's  Patent), 
Ether  (Concentrated), 
Celloidine,  . 
Iodide  of  Ammonium, 
Iodide  of  Cadmium,  . 
Bromide  of  Cadmium, 
Bromide  of  Potassium, 

No.  2. 

Alcohol  (Atwood's  Patent), 
Ether  (Concentrated), 
Celloidine,  . 
Iodide  of  Ammonium, 
Iodide  of  Cadmium,  . 
Bromide  of  Cadmium, 
Bromide  of  Potassium, 

Dissolve  the  iodides  of  ammonium  and  cad- 
mium in  eight  ounces  of  the  alcohol,  then 
dissolve  the  bromide  of  potassium  in  as 
small  a  quantity  of  water  as  will  dissolve  it, 
by  grinding  in  a  mortar  with  the  addition 
of  half  an  ounce  of  alcohol,  and  then  add 
to  the  other  eight  ounces  of  iodized  alcohol. 
Then  add  the  latter  to  the  remaining  ether 
and  alcohol  gradually,  shaking  up  mean- 
while to  avoid  a  precipitate.  Then  add  the 
celloidine  and  shake  up  the  mass.  It  will 
have  to  be  agitated  repeatedly  during  one 
or  two  days  to  dissolve  it  completely,  and  it 
will  make  a  collodion  free  from  sediment, 
which  can  be  used  at  once,  and  will  keep  a 
long  time. 

This,  it  will  be  seen,  difters  from  the  old 
formulae  in  this  particular— a  smaller  quan- 
tity of  the  bromide  salts,  and  the  method 
of  mixing  them.  I  will  here  mention  that 
but  for  this  modification  the  celloidine  of 
Schering  would  never  have  been  introduced 
into  this  country,  and  used  so  largely,  as 


40 

ounces. 

40 

n 

1 

package 

360 

grains. 

40 

•< 

80 

36 

ounces. 

36 

a 

1 

package 

216 

grains. 

216 

" 

60 

" 

40 

C( 

the  agents  had  samples  here  two  years  be- 
fore we  got  hold  of  it,  and  the  article  was 
condemned  by  those  who  tried  it  (by  the 
usual  formulae,  of  course),  but  noticing  its 
extreme  sensitiveness  and  fineness  of  film, 
I  experimented  with  it  until  the  present 
formula  was  perfected,  which  insured  its 
success. 

Now,  under  the  old  formula  the  desirable 
qualities  of  bromide  of  potassium  were  in- 
troduced into  collodion  somewhat  after  the 
following  fashion  :  Iodide  of  ammonium, 
two  and  a  half  grains  to  the  ounce  ;  iodide 
of  cadmium,  two  and  a  half  grains  to  the 
ounce  ;  bromide  of  potassium,  two  and  a 
half  grains  to  the  ounce.  These  were  added 
to  the  alcohol  and  ether  (the  potassium  salts 
being  first  dissolved  in  water),  the  precipi- 
tate which  formed  being  filtered  out  before 
adding  the  cotton.  This  formula  was  always 
considered  excellent,  but  few  knew  the  real 
reason.  Had  all  the  bromine  contained  in 
the  potassium  salt  been  freed  and  absorbed, 
as  was  claimed  by  the  pseudo  chemists,  its 
popularity  would  never  have  been  very 
great.  But  it  was  not,  as  every  one  with  a 
knowledge  of  the  simplest  elements  of  chem- 
istry must  know,  and  all  over  about  one 
grain  to  the  ounce  was  simply  thrown  away. 
After  many  patient  experiments,  I  found 
the  above-mentioned  method  of  making  a 
solution  of  potassic  bromide  in  ether  and 
alcohol  without  precipitation,  and  that  is 
why  this  formula  has  been  found  so  good. 

By  the  old  method  there  was  no  absolute 
certainty  of  obtaining  the  same  amount  of 
bromide  in  solution  twice  in  succession, 
hence  it  gave  variable  results.  It  would  be 
well,  even  by  those  who  are  most  brilliantly 
successful  in  the  art,  to  know  something  of 
the  science  of  chemistry  before  giving  a 
priori  chemical  reasons  for  formulae,  I  know 
that  a  good  many  enthusiasts  of  the  new 
dispensation  will  laugh  at  this  subject  as  an 
"  old  fogy  "  affair,  but  they  would  not  laugh 
so  loud  if  they  knew  the  number  of  the  very 
best  photographers  who  still  use  and  will 
continue  to  stick  to  their  old  friend,  col- 
lodion. It  is  the  latter  who  laugh  when 
they  save  money  by  using  wet  plates  for 
sizes  up  to  8  x  10  inches ;  they  laugh  still 
more  when  they  see  the  results  as  compared 
with  the  average  dry  plates ;  their  printers 


THE   PHILADELPHIA    PHOTOGEAPHEK. 


37 


laugh  at  having  negatives  that  print  quickly 
and  are  not  ruined  by  a  little  overprinting, 
or  the  contrary.  And  yet  these  old  fogies 
manage  to  use  up  a  good  many  dry  plates 
on  babies  and  large  diffiiult  work  without 
ostracising  either  the  old  or  new  dispen- 
sation. 

A  METHOD  OF  MEASURING  THE 
ABSOLUTE  SENSITIVENESS  OF 
PHOTOGRAPHIC  DRY  PLATES. 

BY  WILLIAM  H.  PICKERING. 

Within  the  last  few  years  the  subject  of 
dry  plate  photography  has  increased  very 
rapidly;  not  only  in  general  popularity,  but 
also  in  importance  in  regard  to  its  applica- 
tions to  other  departments  of  science.  Nu- 
merous plate  manufacturers  have  sprung  up 
in  this  country  as  well  as  abroad,  and  each 
naturally  claims  all  the  good  qualities  for 
his  own  plates.  It  therefore  seemed  desirable 
that  some  tests  should  be  made  which  would 
determine  definitely  the  validity  of  these 
claims,  and  that  they  should  be  made  in 
such  a  manner  that  other  persons  using  in- 
struments similarly  constructed  would  be 
able  to  obtain  the  same  results. 

Perhaps  the  most  important  tests  needed 
are  in  regard  to  the  sensitiveness  of  the 
plates.  Most  plate  makers  use  the  wet 
plates  as  their  standard,  giving  the  sensitive- 
ness of  the  dry  plates  at  from  two  to  sixty 
times  greater;  but,  as  wet  plates  vary  quite 
as  much  as  dry  ones,  depending  on  the  col- 
lodion, condition  of  the  bath,  etc.,  this  sys- 
tem is  very  unsatisfactory.  Another  method 
employed  largely  in  England  depends  on  the 
use  of  the  Warnerke  sensitometer.  In  this 
instrument  the  light  from  a  tablet  coated 
with  luminous  paint  just  after  being  exposed 
to  a  magnesium  light,  is  permitted  to  shine 
through  a  colored  transparent  film  of  gradu- 
ated density  upon  the  plate  to  be  tested. 
Each  degree  on  the  film  has  a  number,  and, 
after  a  given  exposure,  the  last  number  pho- 
tographed on  the  plate  represents  the  sensi- 
tiveness on  an  empirical  scale.  There  are 
two  or  three  objections  to  this  instrument. 
In  the  first  place,  the  light-giving  power  of 
the  luminous  tablet  is  liable  to  variations ; 
and,  if  left  in  a  warm,  moist  place,  it  rapidly 
deteriorates.     Again,  it  has  been  shown  by 


Captain  Abney  that  plates  sensitized  by 
iodides,  bromides,  and  chlorides,  which  may 
be  equally  sensitive  to  white  light,  are  not 
equally  affected  by  the  light  emitted  by  the 
paint ;  the  bromides  being  the  most  rapidly 
darkened,  the  chlorides  next,  and  the  iodides 
least  of  all.  The  instrument  is  therefore 
applicable  only  to  testing  plates  sensitized 
with  the  same  salts. 

In  this  investigation  it  was  first  shown 
that  the  plates  most  sensitive  for  one  colored 
light  were  not  necessarily  so  for  light  of 
another  color.  Therefore  it  was  evident 
that  the  sun  must  be  used  as  the  ultimate 
source  of  light,  and  it  was  concluded  to  em- 
ploy the  light  reflected  from  the  sky  near 
the  zenith  as  the  direct  source.  But  as  this 
would  vary  in  brilliancy  from  day  to  day,  it 
was  necessary  to  use  some  method  which 
would  avoid  the  employment  of  an  absolute 
standard  of  light.  It  is  evident  that  we 
may  escape  the  use  of  this  troublesome 
standard,  if  we  can  obtain  some  material 
which  has  a  perfectly  uniform  sensitiveness. 
Eor  we  may  then  state  the  sensitiveness  of 
our  plates  in  terms  of  this  substance,  regard- 
less of  the  brilliancy  of  our  source.  The 
first  material  tried  was  white  filter  paper, 
salted,  and  sensitized  in  a  standard  solution 
of  silver  nitrate.  This  was  afterward  re- 
placed by  powdered  silver  chloride,  chemi- 
cally pure, — which  was  found  to  be  much 
more  sensitive  than  that  made  from  the 
commercial  chemicals.  This  powder  is 
spread  out  in  a  thin  layer,  in  a  long  paper 
cell,  on  a  strip  of  glass.  The  cell  measures 
one  centimetre  broad  by  ten  in  length. 
Over  this  is  laid  a  sheet  of  tissue  paper,  and 
above  that  a  narrow  strip  of  black  paper,  so 
arranged  as  to  cover  the  chloride  for  its  full 
length  and  half  its  breadth.  These  two 
pieces  of  paper  are  pasted  on  to  the  under 
side  of  a  narrow  strip  of  glass  which  is 
placed  on  top  of  the  paper  cell.  The  appa- 
ratus in  which  the  exposures  are  made  con- 
sists of  a  box  a  little  over  a  metre  in  length, 
closed  at  the  top  by  a  board,  in  which  is  a 
circular  aperture  15.8  cm.  in  diameter.  Over 
this  board  may  be  placed  a  cover,  in  the 
centre  of  which  is  a  hole  .05  cm.  in  diameter, 
which,  therefore,  lets  through  .00001  as  much 
light  as  the  full  aperture.  The  silver  chlo- 
ride is  placed  at  a  distance  of  just  one  metre 


38 


THE    PHILADELPHIA    PHOTOGKAPHEB. 


from  the  larger  aperture,  and  over  it  is 
placed  the  photographic  scale,  which  might 
be  made  of  tinted  gelatines,  or,  as  in  the 
present  case,  constructed  of  long  strips  of 
tissue  paper,  of  varying  widths,  and  arranged 
like  a  flight  of  steps  ;  so  that  the  light  pass- 
ing through  one  side  of  the  scale  traverses 
nine  strips  of  paper,  while  that  through  the 
other  side  traverses  only  one  strip.  Each 
strip  cuts  off  about  one-sixth  of  the  light 
passing  through  it,  so  that,  taking  the  middle 
strip  as  unity,  the  strips  on  either  side  taken 
in  order  will  transmit  approximately, 

123456789 
2.0   1.65   1.4    1.2    1.0    .85     .7      .6       .5 

The  instrument  is  now  pointed  toward  the 
zenith  for  about  eight  minutes,  on  a  day 
when  there  is  a  bright  blue  sky.  On  taking 
the  apparatus  into  the  dark  room,  and  view- 
ing the  impression  by  gaslight,  it  will  be 
found  that  the  markings,  which  are  quite 
clear  at  one  end,  have  entirely  faded  out  by 
the  time  the  middle  division  is  reached.  The 
last  division  clearly  marked  is  noted.  Five 
strips  cut  from  sensitized  glass  plates,  ten 
centimetres  long  and  two  and  a  half  in 
width,  are  now  placed  side  by  side  under  the 
scale,  in  the  place  of  the  chloride.  By  this 
means  we  can  test,  if  we  wish,  five  different 
kinds  of  plates  at  once.  The  cover  of  the 
sensitometer  containing  the  .05  cm.  hole  is 
put  on,  and  the  plates  exposed  to  sky-light 
for  a  time  varying  anywhere  between  twenty 
seconds  and  three  minutes,  depending  on  the 
sensitiveness  of  the  plates.  The  instrument 
is  then  removed  to  the  dark-room,  and  the 
plates  developed  by  immersing  them  all  at 
once  in  a  solution  consisting  of  four  parts  of 
potassium  oxalate,  and  one  part  of  ferrous  sul- 
phate. Alter  ten  minutes  they  are  removed, 
fixed,  and  dried.  Their  readings  are  then 
noted,  and  compared  with  those  obtained 
with  the  silver  chloride.  The  chloride  ex- 
periment is  again  performed  as  soon  as  the 
plates  have  been  removed,  and  the  first  re- 
sult confirmed.  With  some  plates  it  is 
necessary  to  make  two  or  three  trials  before 
the  right  exposure  can  be  found ;  but,  if  the 
image  disappears  anywhere  between  the  sec- 
ond and  eighth  divisions,  a  satisfactory  result 
may  be  obtained. 

The  plates  were  also  tested  using  gas-light 


instead  of  daylight.  In  this  case  an  Argand 
burner  was  employed,  burning  5  cubic  feet 
of  gas  per  hour.  A  diaphragm  1  cm.  in 
diameter  was  placed  close  to  the  glass  chim- 
ney, and  the  chloride  was  placed  at  10  cm. 
distance,  and  exposed  to  the  light  coming 
from  the  brightest  part  of  the  name,  for  ten 
hours.  This  produced  an  impression  as  far 
as  the  third  division  of  the  scale.  The 
plates  were  exposed  in  the  sensitometer  as 
usual,  except  that  it  was  found  convenient 
in  several  cases  to  use  a  larger  stop,  measur- 
ing .316  cm.  in  diameter. 

The  following  table  gives  the  absolute  sen- 
sitiveness of  several  of  the  best-known  kinds 
of  American  and  foreign  plates,  when  devel- 
oped with  oxalate,  in  terms  of  pure  silver 
chloride  taken  as  a  standard.  As  the  num- 
bers would  be  very  large,  however,  if  the 
chloride  were  taken  as  a  unit,  it  was  thought 
better  to  give  them  in  even  hundred  thou- 
sands : 

SENSITIVENESS  OF  PLATES. 
Plates. 

Carbutt  Transparency, 

Allen  &  Rowell,  . 

Richardson  Standard, 

Marshall  &  Plair, 

Blair  Instantaneous,  . 

Carbutt  Special, 

Monroe, 

Wratten  &  Wrainwright, 

Eastman  Special, 

Richardson   Instantaneous, 

Walker,  Reid  &  Inglis, 

Edwards,     . 

Monckhoven, 

Beebe, 

Cramer, 

It  will  be  noted  that  the  plates  most  sen- 
sitive to  gas-light  are  by  no  means  neces- 
sarily the  most  sensitive  to  daylight ;  in  sev- 
eral instances,  in  fact,  the  reverse  seems  to 
be  true. 

It  should  be  said  that  the  above  figures 
cannot  be  considered  final  until  each  plate 
has  been  tested  separately  with  its  own  de- 
veloper, as  this  would  undoubtedly  have 
some  influence  on  the  final  result. 

Meanwhile  two  or  three  interesting  inves- 
tigations naturally  suggest  themselves ;  to 
determine,  for  instance,  the  relative  actinism 
of  blue  sky,  haze,  and  clouds ;  also,  the  rela- 
tive exposures   proper  to  give   at  different 


Daylight. 

Gas-ligr 

.7 

.       1.3 

150 

.       1.3 

10 

.       2.7 

140 

.       3.0 

140 

.       4.0 

20 

.       4.0 

25 

.       4.0 

10 

.       5.3 

30 

i,       5.3 

20 

.     11. 

600 

.     11. 

20 

.     16. 

120 

.     16. 

20 

.     16. 

120 

THE  PHILADELPHIA  PHOTOGRAPHER 


39 


hours  of  the  day,  at  dffferent  seasons  of  the 
year,  and  in  different  countries.  A  some- 
what prolonged  research  would  indicate  what 
effect  the  presence  of  sun-spots  had  on  solar 
radiation, — whether  it  was  increased  or  di- 
minished. 

[By  courtesy  of  the  author,  from  the  pro- 
ceedings of  the  American  Academy  of  Arts 
and  Sciences. — Ed.] 


"FOREWARNED  IS  FORE- 
ARMED." 

BY  C.  R.  PANCOAST. 

The  author  of  this  trite  saying  was,  per- 
haps, one  of  the  greatest  scientists  of  his  day ; 
and,  although  the  art  of  photography  was 
unknown  to  him,  yet,  had  he  heen  aware  of 
its  peculiar  characteristics,  he  could  not  have 
originated  a  maxim  more  to  the  point.  Pho- 
tography, even  in  its  simplest  form,  is  a  com- 
plex undertaking — a  chain  of  wheels  working 
with  each  other,  where  the  slightest  derange- 
ment of  one  necessitates  the  stoppage  of  the 
whole.  Practice  and  experience  alone  give 
that  facility  of  execution  which  is  so  desira- 
ble, and  distinguishes  the  expert  from  the 
novice.  Beginners,  as  a  rule,  by  devoting 
their  whole  time  and  attention  to  the  chemi- 
cal portion  of  the  work,  often  give  them- 
selves endless  trouble  and  annoyance  by 
omitting  some  of  the  minor  yet  important 
mechanical  details;  which,  if  properly  ar- 
ranged, could  be  made  almost  automatic. 
For  the  amateur  to  remember  everything  is 
next  to  an  impossibility ;  therefore,  the  best 
plan  is  so  to  arrange  the  apparatus  that  it  is 
practically  impossible  to  omit  any  important 
part.  In  this  respect  the  English  cameras 
are  preeminently  good,  being  entirely  self- 
contained,  no  loose  pieces  or  screws  to  be- 
come lost  or  mislaid.  A  very  simple,  yet, 
oh  1  how  important  member  of  the  photog- 
rapher's kit,  is  the  thumb-screw  for  securing 
the  camera  to  the  tripod.  The  number  of 
times  this  has  been  lost  or  forgotten  is  beyond 
calculation,  while  a  very  simple  mechanical 
contrivance  will  so  secure  it  to  the  tripod 
that  it  at  once  becomes  a  part  of  that  instru- 
ment. It  is  well  to  have  this  screw  of  a 
standard  size.     (The  manufacturers  of  cam- 


eras seem  to  delight  in  furnishing  screws  of 
very  odd  sizes  and  threads,  which  are  to  be 
obtained  nowhere  outside  of  their  shops. ) 

A  very  convenient  size  and  one  suitable 
for  cameras  up  to  8  x  10  is  the  T5g//  standard 
bolt  thread.  This  can  be  obtained  in  any 
machine  or  blacksmith  shop.  The  great 
advantage  of  a  standard  thread  is  that  where 
the  screw  is  lost, or  broken,  there  will  be 
little  or  no  delay  in  replacing  it,  providing, 
of  course,  that  a  spare  one  is  not  carried  in 
case  of  an  emergency.  In  arranging  appa- 
ratus for  travelling,  it  is  well  to  provide 
against  every  contingency.  A  few  moments 
spent  in  a  careful  inspection  will  never  be 
regretted,  and  frequently  reveal  a  defect 
which  might  result  disastrously.  In  this 
connection  I  might  mention  an  instance  of 
what  seemed  a  case  of  unpardonable  stu- 
pidity. A  celebrated  English  photographer, 
desirous  of  making  a  series  of  pictures  from 
the  car  of  a  balloon,  engaged  the  services  of 
an  aeronaut,  and  preparations  were  made  for 
an  ascension.  Upon  reaching  the  proper  ele- 
vation, imagine  the  disgust  of  the  operator 
when  he  discovered  that  his  instantaneous 
shutter  was  out  of  order  and  failed  to  work. 
He  knew,  or  should  have  known,  that  all 
depended  on  that  shutter,  and  should  have 
seen  that  it  was  in  perfect  order,  and  of  a 
pattern  not  likely  to  become  deranged,  or 
else  provided  himself  with  a  spare  instru- 
ment. Perhaps  a  few  minutes  spent  prior 
to  the  ascent  in  overhauling  his  apparatus 
would  have  revealed  the  fact  that  the  shutter 
was  not  in  working  order,  and  thus  the 
waste  of  time  and  money  in  making  the 
fruitless  expedition  would  have  been  saved. 

Perhaps  the  most  vulnerable  part  of  a 
camera  is  the  ground  glass  screen  ;  therefore 
it  is  well  to  have  a  spare  one  convenient  in 
case  of  accident,  or  else  be  provided  with  a 
small  phial  of  an  opalescent  varnish  or 
"ground  glass"  substitute,"  with  which  an 
excellent  substitute  for  a  ground  glass  can 
be  prepared  in  a  few  moments.  A  small 
pocket  screw-driver  and  an  assortment  of 
screws  are  well-nigh  indispensable,  especially 
if  one  is  photographing  in  a  rough  country, 
and  where  the  camera  is  likely  to  be  knocked 
about.  In  some  places  it  is  impossible  to 
have  any  repairs  made,  other  than  what  the 
photographer  is  able  to  do  himself.     "Where 


40 


THE    PHILADELPHIA    PHOTOGRAPHER. 


one  desires  to  use  a  number  of  lenses  on  the 
same  camera,  the  most  convenient  plan,  if 
properly  arranged,  is  to  have  the  largest 
flange  permanently  attached  to  the  front 
board  of  the  camera  and  use  a  series  of 
"  adapters  "  to  suit  the  smaller  lenses.  Un- 
less these  are  properly  made,  they  are  a  great 
annoyance.  "Where  the  smaller  lenses  are 
in  a  variety  of  sizes,  each  should  have  its 
adapter  permanently  attached  to  it,  and  not 
loose,  as  then  the  liability  of  its  becoming 
jammed  in  the  larger  flange  is  greatly  less- 
ened. An  admirable  plan  consists  in  hav- 
ing one  ortwo  standard  flanges  for  all  cameras 
(according  to  size),  and  make  all  the  lenses 
and  their  adapters  interchangeable. 

In  the  anxiety  regarding  the  chemical 
work,  one  is  apt  to  overlook  the  many  little 
conveniences  which  facilitate  the  field  work 
and  add  so  much  to  one's  comfort.  Now  a 
few  words  on  the  subject  of  packing.  A 
sole  leather  case  for  the  camera  and  lenses  is 
certainly  the  most  desirable,  as  it  is  in  a 
measure  waterproof,  and  will  stand  a  vast 
amount  of  hard  usage.  It  should  be  con- 
structed so  as  to  contain,  besides  the  camera, 
lenses,  and  plate  holders,  a  spare  pocket,  in 
which  can  be  carried  a  variety  of  "  supplies," 
such  as  extra  screws,  ground  glass,  adapters, 
extra  fronts,  and  such  other  items  as  are  apt 
to  become  lost  or  broken.  The  additional 
weight  is  very  little,  and  the  surest  way  to 
prevent  accidents  is  to  be  provided  against 
them.  Plates  should  always  be  packed  so  as 
to  stand  on  edge  and  thoroughly  wedged  in 
with  some  material  to  prevent  jostling.  The 
following  plan  adopted  by  the  writer  in  a 
recent  foreign  tour  gave  great  satisfaction. 
Having  prepared  a  number  of  thin  card- 
board frames  the  exact  size  of  the  plate,  I 
placed  one  between  each  film  surface.  By 
cutting  these  in  one  piece,  although  waste- 
ful, an  even  bearing  is  obtained  for  each 
plate,  and  a  much  firmer  package  made, 
than  when  these  frames  are  made  of  narrow 
strips  pasted  together  at  the  corners.  To 
avoid  any  possibility  of  dampness,  I  thor- 
oughly dried  them  by  heat  before  placing 
them  between  the  plates.  After  wrapping 
several  thicknesses  of  non-actinic  paper 
around  the  plates,  I  put  them  in  card-board 
boxes,  giving  these  several  folds  of  heavy 
wrapping  paper.     Of  the  large  number  of 


plates  packed  in  this  manner,  not  a  single 
one  was  either  broken  or  scratched. 


VICISSITUDES  OF  GELATINE. 


BY    R.    DOUGLAS. 


In  spite  of  what  information  we  have 
about  gelatine,  it  seems  to  delight  in  baf- 
fling science  at  times.  "Will  some  practical 
man  explain  away  satisfactorily  why  plates 
will  at  times  be  full  of  dull-looking  spots 
before  development,  which  become  intense 
spots  after  development,  very  often  ruining 
the  negatives?  They  cannot  be  from  fatty 
or  greasy  matter,  whose  behavior  consists 
in  giving  blurred  roundish  spots,  repelling 
the  developer.  It  seems  to  me  to  be  caused 
by  something  we  don't  know  of.  1  have 
observed  that  keeping  of  emulsion  for  at 
least  a  week,  partially  does  away  with  it. 
I  am  certain  to  get  these  spots  in  fresh 
emulsion.  One  time  I  made  a  batch  of  emul- 
sion and  put  it  away  a  full  month  to  ripen  ; 
the  result  was  complete  absence  of  spots. 
Lately  I  used  an  emulsion  less  than  a  week 
old,  and  got  a  good  many  spots  on  each 
plate.  Next  experiment:  I, kept  it  about 
ten  days  in  very  cold  weather,  still  spots 
came,  but  fewer  in  number.  Probably  the 
excessive  cold  prevented  the  full  ripening. 
At  any  rate,  when  emulsion  is  given  plenty 
of  time  to  ripen  in  normal  temperature, 
the  spots  don't  come.  I  am  often  sur- 
prised to  see  many  give  recipes,  and  direct 
using  emulsion  fresh.  I  would  like  to  know 
if  they  do  not  get  the  spots  in  question.  If 
they  do  not,  will  they  please  show  us  th« 
way  they  prevent  them  ?  Washing  the 
gelatine,  before  use,  probably  rids  it  of 
grease  ;  at  any  rate,  it  is  to  be  recom- 
mended. Will  some  one  enlighten  us  on 
the  subject  of  spots  ? 

A  good  deal  is  said  of  deterioration  of 
plates  by  reason  of  the  pasteboard  separa- 
tors. This  is  not  to  be  wondered  at.  Even 
a  good  albumen  print  pasted  on  common 
straw  board  is  not  slow  in  fading  away.  If 
separators  are  to  be  used  at  all,  why  not 
have  them  cut  out  of  No.  1  photographic 
cardboard,  as  is  supplied  by  all  stockdealers. 
This  is  probably  the  purest  substance 
known,  and  ought  not  to  act  injuriously  on 
plates.     I  have  not  had  occasion  to  demon- 


THE  PHILADELPHIA  PHOTOGEAPHEE. 


41 


strate  this  theory,  for  I  use  up  quickly  all 
I  make.  For  boxes  to  keep  plates  in  I  use 
tin  boxes,  made  at  a  tinshop,  taking  as  a 
pattern  a  sample  of  the  pasteboard  box  in 
which  plates  are  packed.  These  are  more 
handy  and  convenient  than  pasteboard,  and 
practically  damp-proof. 

In  early  days  of  dry  plates  I  thought 
that  I  hit  on  a  good  way  to  pack  plates. 
I  made  envelopes  of  orange  paper,  and  put 
each  plate  in  its  own  envelope.  After  the 
plate  was  exposed  I  wrote  the  memoranda 
on  the  envelopes,  and  returned  the  plates  in 
them.  The  plan  worked  well  for  a  little 
while,  but  after  I  had  occasion  to  have 
plates  in  their  envelopes  for  a  month  or  so 
they  were  ruined.  There  were  large  in- 
sensitive spots  on  the  plates  which  refused 
to  develop.  These  insensitive  spots  and 
patches  were  undoubtedly  caused  by  the 
paper. 

I  have  lately  made  some  curious  observa- 
tions on  the  boiling  process.  I  use  bromo- 
iodide  emulsion,  which  gives  far  better  ef- 
fects on  views  than  pure  bromide  alone. 
By  boiling  half  an  hour  I  get  practically  as 
quick  plates  as  ever  with  very  good  grada- 
tions and  plenty  of  density.  By  boiling- 
one  hour  they  are  about  as  quick  as  Car- 
butt's  specials,  with  as  good  density  as  in 
half-hour  boiled  emulsion  :  both  were  free 
from  blurring.  Boiling  one  hour  and  a 
half,  still  more  rapid,  good  density ;  plenty 
of  details,  but  bordering  on  blurring.  Two 
hours'  boiling  gives  still  more  rapid  plates — 
in  fact,  twice  as  rapid  as  one  hour's  boiling, 
but  blurring  is  more  decided.  Still  these 
plates  were  very  good  for  portraits,  giving 
soft  and  harmonious  effects.  As  viewing 
is  my  specialty,  I  conclude  that  emulsion 
boiled  for  one  hour  gives  me  the  most  de- 
sirable plates. 

Iodide  allows  the  boiling  to  be  prolonged 
without  fogging.  Half  an  hour  gives 
dense,  yellowish-red  plates.  One  hour,  a 
trifle  less  decided  color.  One  hour  and  a 
half,  still  less.  Two  hours  transmits  gray- 
ish light,  thinner,  and  more  transparent. 
It  coats  far  fewer  plates  than  less  boiled 
emulsions  do.  I  don't  use  cold  emulsion 
process,  so  I  don't  know  much  about  it. 

Silicate  of  potash  seems  the  best  for  a 
substratum.     I  think  it   should   never   be 


allowed  to  get  frozen,  judging  from  a  bot- 
tle of  that  stuff  which  was  ruined  beyond 
restoring  lately  in  my  hands.  I  could  not 
redissolve  it,  though  it  willingly  thawed 
out  the  ice. 


WE  ARE  ASKED  TO  PUBLISH 
THE  FOLLOWING. 

Boston,  Mass.,  Dec.  22, 1884. 
Leo.  Weingartner, 

Secretary  of  the  P.  A.  of  A. 

Dear  Sir:  I  have  patiently  waited  a  re- 
ply to  my  letter  of  29th  of  October,  explain- 
ing the  non-appearance  of  our  name  in  the 
list  of  contributors  to  the  Cincinnati  Con- 
vention, but  have  up  to  date  received  none. 
Since  you  assumed  the  responsibility  of 
writing  the  Company  of  which  I  am  Treas- 
urer, urging  them  to  forward  their  donation 
to  you,  I  must,  as  a  brother  member,  insist 
that  you  give  proper  account  of  the  same, 
either  through  the  Treasurer  of  the  Associa- 
tion or  to  us.  The  writing  of  this  letter  is 
an  unpleasant  task,  but  I  am  confident  the 
members  of  the  Photographers'  Association 
of  America  would  not  countenance  your 
discourteous  treatment  of  contributors  to 
their  fund.  "We  do  not  wish  to  pose  as 
croakers,  but,  since  we  asked  a  civil  question 
and  received  no  reply,  we  must  insist  upon 
having  it.     Yours,  very  truly, 

T.  H.  Blair. 

To  the  Members  of  the  Photographers' 
Association  of  America. 

In  connection  with  the  above,  I  trust  it 
will  not  be  considered  that  I  have  resorted 
to  unbusiness-like  methods  for  advertising 
purposes,  but  during  my  late  tour  through 
the  different  States,  I  have  heard  several 
complaints  similar  to  my  own,  and  the  ma- 
jority has  ended  with  the  remark  that  the 
Association  had  received  its  last  dollar  from 
that  source.  I  do  not  say  this.  I  have 
faith  in  the  majority  of  its  members. 

The  photographers  of  America  cannot 
afford  to  allow  this  Association  bearing  their 
name  to  sink  into  disrepute;  the  manufac- 
turers and  dealers  cannot  afford  to  lose  this 
opportunity  to  bring  their  wares  before  the 
intelligent   photographer   of    the   country. 


42 


THE    PHILADELPHIA    PHOTOGrKAPHEK. 


They  appreciate  the  advantage,  and  a  glance 
at  the  list  of  contributors  must  convince  any 
one  that  they  are  willing  to  pay  their  share. 
Furthermore,  the  dealer  and  manufacturer 
depend  on  the  photographer  for  their  sup- 
port. When  the  latter  is  in  a  prosperous 
and  happy  condition,  the  former  is  more 
likely  to  be;  therefore  I  believe  I  am  echo- 
ing the  voice  of  the  latter  class  when  I  say 
we  are  willing  to  help  support  that  which 
will  promote  the  welfare  of  photographers. 

This  may  be  presumption  on  my  part  to 
predict  that  the  Association  will  die.  Be 
it  so  or  not,  I  say,  without  a  doubt  in  my 
mind,  that,  if  the  follies  of  last  year  are 
repeated,  the  Association  has  but  few  years 
to  live ;  but,  on  the  other  hand,  if  we  are 
willing  to  be  taught  by  experience,  we  are 
the  more  able  to  conduct  the  coming  one 
successfully.  The  condition  of  the  country 
from  a  photographic  point  of  view  to-day  is 
a  gloomy  one.  The  Photographers'  Associa- 
tion of  America  can  be  of  vast  service  in 
bringing  about  a  better  condition  of  affairs, 
but  its  Convention  must  be  different,  and 
some  of  its  officers  different  from  those  of 
last  year.  We  should  spend  less  energy  in 
getting  photographers  to  the  Convention, 
and  more  to  provide  for  becoming  entertain- 
ment while  there. 

Our  Secretary,  whom  I  have  seemingly 
criticised  so  severely,  worked  energetically 
for  the  Association.  This  I  witnessed  per- 
sonally, but  it  is  my  belief  that  his  efforts 
were  not  directed  with  the  best  judgment 
and  for  the  best  interest  of  the  Association, 
under  whose  banner  he  transacted  the  busi- 
ness. The  acceptance  of  the  office  he  holds 
is  a  pledge  that  he  will  attend  faithfully  to 
its  duties.  This  I  believe  I  can  be  upheld 
in  saying  he  has  not  done.  It  is  not  alone 
in  matters  similar  to  that  embodied  in  my 
complaint  of  which  I  speak.  I  have  been 
shown  letters  simply  asking  after  lost  goods, 
to  which  the  writers  were  unable  to  get 
even  an  acknowledgment.  Shall  we  quietly 
sit  back  and  allow  this  to  continue?  As  a 
member,  I  do  not  feel  disposed  to,  and  trust 
there  are  more  of  a  similar  mind. 

Fraternally  yours,  T.  H.  Blair. 


Mosaics  for  1885  is  immense. 


ON  STAMP  PORTRAIT  PATENTS. 

Having  received  a  card  from  Tensfield 
&  Kuhn,  of  the  West  End  Gallery,  1513-15 
Olive  Street.  St.  Louis,  Mo.,  advertising 
the  stamp  photograph,  claiming  to  be  the 
original  inventors,  and  having  applied  for 
patent,  etc.,  threatening  also  to  prosecute 
parties  making  or  dealing  in  them,  now, 
while  we  have  no  objection  to  the  gentle- 
men making  some  money  out  of  the  stamp 
photograph,  we  have  objections  to  their 
claiming  priority  of  invention,  unless  their 
introduction  antedates  1858.  I  have  objec- 
tions also  to  their  attempt  to  intimidate 
the  fraternity  for  making  or  dealing  in  the 
same ;  and  through  your  most  valuable 
paper  I  would  like  to  inform  the  art  fra- 
ternity, as  well  as  the  gentlemen  themselves, 
that,  between  the  years  1858  and  1862,  I 
made  and  sold  over  300,000  stamp  photos, 
and  have  machines  yet  in  existence  that 
would  produce,  under  a  condensing  lens, 
100  in  ten  minutes.  The  gentlemen  perhaps 
think  they  have  struck  a  mine  that  has  never 
yet  been  prospected,  but  in  this  they  are 
mistaken  ;  and,  if  there  is  any  doubt  about 
the  matter,  reference  is  here  given  to  Frank 
Leroy,  Youngstown,  Ohio;  J.  F.  Byder, 
Cleveland,  Ohio;  J.  W.  Gould,  Carrollton, 
Ohio;  and  many  other  parties  whose  names 
I  have  forgotten,  all  of  whom,  except  J.  F. 
Byder,  purchased  machines  of  me  for  their 
production.     Bespectfully  submitted, 

A.  B.  Gould. 


INTENSIFYING  NEGATIVES. 

BY    XANTHUS    SMITH. 

There  seems  to  be  a  want  of  knowledge 
about  intensifying  negatives  with  many 
amateurs,  or  perhaps  it  is  often  a  fear  of 
destroying  what  they  already  have  obtained, 
which  deters  them  from  venturing  upon  the 
operation.  It  is  a  matter  well  worthy  of 
their  attention  however,  for  many  negatives 
which  are  valueless  even  for  the  production 
of  silver  prints,  can  be  made  to  print  well 
upon  platinum  paper.  A  few  suggestions 
may,  therefore,  not  come  amiss  to  some  who 
may  wish  to  experiment  on  unsatisfactory 
work. 

In  the  first  place,  it  is  useless  to  attempt 


THE   PHILADELPHIA    PHOTOGRAPHER. 


43 


the  intensification  of  a  fogged  negative.  An 
over-exposed  and  fogged  plate  may  be  con- 
sidered past  doing  anything  with,  and,  on 
the  other  hand,  little  or  nothing  can  be  done 
with  an  under-exposed  or  under-developed 
plate,  where  no  detail  has  been  brought  out. 
But  it  sometimes  happens  that  a  plate  comes 
out  of  the  fixing  bath  clear  in  the  shadows 
and  full  of  the  proper  details  throughout  the 
rest,  but  wanting  in  sufficient  intensity  to 
make  a  good  print,  and  these  are  the  cases 
in  which  intensification  comes  so  well  into 
play. 

The  process  is  extremely  simple,  but  at  the 
same  time  one  requiring  a  certain  amount  of 
care  and  cleanliness,  for  the  principal  agent 
used  is  the  bichloride  of  mercury,  a  potent 
chemical,  tending  to  inequality  in  its  ac- 
tion, unstable,  and  highly  poisonous.  Of 
the  different  formulae  given,  I  have  found 
that  of  mercury,  in  conjunction  with  cya- 
nide of  silver  (which  will  be  found  in  the 
directions  accompanying  Carbutt's  plates), 
the  most  reliable  and  satisfactory — not  only 
for  dry  but  also  for  wet  plates,  and  although 
a  negative  may  be  very  satisfactorily  intensi- 
fied after  it  has  been  dried,  I  think  the  most 
perfect  and  certain  results  are  to  be  obtained 
immediately  after  the  final  washing  (the 
plate  having,  of  course,  been  submitted  to 
the  alum  bath)  and  before  drying,  and  in 
the  case  of  negatives  that  have  already  been 
dried,  they  should  be  thoroughly  moistened 
again  in  clean  water  before  treating,  and  in 
both  cases  the  superfluous  water  should  be 
drained  and  carefully  blotted  from  the  sur- 
face. "When  this  has  been  done,  pour  a 
sufficient  quantity  of  the  mercury  solution 
into  one  of  your  glass  or  porcelain  develop- 
ing pans  to  cover  the  bottom  to  the  depth  of 
a  quarter  of  an  inch  or  so,  set  the  negative 
perpendicularly  into  this  and  lower  it  on  to 
the  solution,  face  down,  with  an  even  motion 
and  without  pausing  ;  in  this  way  the  solu- 
tion will  flow  equally  across,  air  bubbles  will 
be  forced  out,  and  streaks  and  lines  will  be 
avoided.  A  scrap  of  glass  or  rod  should  be 
used  to  keep  the  face  of  the  plate  from  touch- 
ing the  bottom  of  the  dish, and  it  will,  by  serv- 
ing to  raise  the  plate  out  of  the  solution,  save 
the  fingers,  the  mercury  being  very  destruc- 
tive to  the  skin.  When  the  image  has 
become  equally   and   thoroughly   whitened, 


the  plate  should  be  removed  and  well  washed 
and  drained.  The  next  solution,  the  cya- 
nide, is  best  applied  by  having  an  abundance 
in  a  pan,  so  as  to  be  sure  of  thoroughly  cov- 
ering the  plate,  and  dropping  the  latter  in, 
face  up,  as  in  developing,  and  keeping  the 
pan  in  motion  so  that  the  solution  will  flow 
back  and  forth  from  end  to  end.  In  a  few 
moments  the  whitened  image  of  the  negative 
will  be  turned  to  a  clear  deep  brown,  and 
when  the  change  has  taken  place  equally 
and  completely,  the  plate  may  be  removed 
and  well  washed  and  dried.  The  whole  pro- 
cess may,  of  course,  be  conducted  in  open 
daylight.  Always  return  the  solutions  im- 
mediately to  their  respective  bottles,  and 
wash  thoroughly  the  pans ;  cleanliness  is 
essential  to  the  success  of  the  process,  and 
also  important  on  account  of  the  poisonous 
nature  of  the  solutions  used. 

Negatives  that  have  been  successfully  in- 
tensified and  which  it  is  desired  to  preserve 
for  any  considerable  length  of  time,  should 
be  varnished.  Intensified  wet  plates  are 
particularly  liable  to  change,  returning  un- 
equally to  the  bleached  condition,  and  my 
experience  has  been  that  varnishing  effectu- 
ally prevents  any  change ;  and  although  I 
have  not  as  yet  noticed  instability  with  the 
dry  plates,  yet  from  the  nature  of  the 
chemicals  used,  good  negatives  (intensified), 
which  I  wish  to  preserve,  I  varnish  as  a 
matter  of  thorough  precaution. 


HOW  MOSAICS  MADE  THE 
MILLIONS. 

BY    DR.    STERNBERG. 

I  have  enjoyed  photography  for  many  a 
long  year,  and,  if  such  a  thing  is  allowable, 
I  am  a  veteran  amateur.  I  photographed 
when  carrying  a  much  heavier  camera  than 
we  get  now,  with  a  dark  tent,  which  meant 
something,  and  I  love  it  yet.  I  am  ashamed 
that  I  did  not  sooner  do  something  more  to 
encourage  the  editor  of  Mosaics  than  I  have 
done.  My  first  contribution  appears  in  the 
issue  of  1885.  The  real  truth  is  (and  they  say 
"  an  honest  confession  is  good  for  the  soul),  I 
thought  I  "  knew  it  all,"  and  I  was  too  con- 
ceited to  read  anything  that  was  published, 
and  too  indifferent  and  selfish  to  give  any 
of  what  I  knew  for  the  benefit  of  the  craft. 


44 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


The  dry  process  converted  me.  I  wanted 
to  "know  it  all,"  and  I  began  to  search 
the  records  for  information.  Mosaics  came 
in  for  its  share  of  handling,  and  when  I 
saw  how  much  others  had  done  to  con- 
tribute information,  I  softened,  contributed 
an  article,  and  began  to  reform.  I  read  it 
first  this  year,  of  course,  and  then,  well 
pleased,  read  the  ripe  notes  contributed  by 
others.  Why,  I  am  perfectly  charmed. 
The  little  fifty  cent  book  is  worth  its  weight 
in  nickels  and  gold.  Mosaics?  "Why, 
there's  millions  in  it."  The  more  I  study 
it  the  better  a  photographer  I  become,  and 
the  more  I  enjoy  my  hobby.  I  do  not  find 
the  large,  long,  windy  articles  (though  few 
they  are),  of  most  benefit  to  me,  but  the 
little  bits  which  I  pick  out  here  and  there. 
For  fear  some  of  these  may  be  overlooked 
by  the  careless  reader,  I  have  made  a 
collection  of  some  of  the  best.  I  ap- 
pend them,  and  beg  you  to  publish  them, 
that  our  hasty  workers  may  have  them  in 
a  concentrated  convenient  shape.  Here 
goes,  for  a  lot  of  little  things,  some  of 
which  we  are  apt  to  forget  when  perform- 
ing some  of  the  simplest  operations  in  our 
work,  and  all  of  which  are  worth  remem- 
bering. I  give  them  a  marginal  number, 
the  page  on  which  they  are  found,  followed 
by  the  name  or  subject  of  the  article  : 

43 — "My  Developer."  I  only  wish  to 
call  attention  to  the  advantage  of  adding 
the  silver  dry.  The  idea  is  to  form  the 
bromide  of  silver  at  as  near  a  temperature 
of  140°  as  possible. 

As  the  hot  gelatine  dissolves  the  silver, 
it  is  converted  into  bromide  much  more 
evenly  than  can  be  done  from  a  solution  of 
the  same. 

45 — "  Under-  and  Over-exposed  Plates." 
I  have  found  the  following  admirable  for 
over-exposed  plates : 

I  first  put  the  plate  in  a  bath  of  bromide 
of  potassium  before  development,  the 
strength  of  the  bath  being  about  one  part 
to  one  of  water.  In  this  solution  it  is  al- 
lowed to  remain  about  one  minute,  then 
taken  out  and,  without  washing,  transferred 
to  the  ordinary  developer.  I  prefer  the 
oxalate  to  the  pyro,  but  I  add  about  six 
drops  of  a  fifty  per  cent,  solution  of  citric 
acid. 


You  will  be  surprised  at  the  result — a 
brilliant  negative,  clear  and  full  of  detail. 

50 — "  Photo  Experiences."  A  convenient 
rule  for  amateurs,  not  always  given  in  the 
hand-books,  is  that  one  grain  of  chloride  of 
gold  will  tone  one  sheet  of  paper  18  by  22 
inches,  and  one  ounce  of  hypo  c?ystals  will 
fix  three  sheets  of  paper. 

53 — "Development."  Although  a  strong 
developer  will  compensate  for  a  shorter  ex- 
posure than  a  weak  developer,  yet  even  in 
the  wet  process,  with  the  exception  of  some 
peculiar  cases,  a  weak  developer  is  to  be 
preferred. 

Above  all,  a  weak  developer  works  more 
clearly  and  uniformly  than  a  stronger  one, 
and  requires  less  skill  in  manipulation. 
This  is  especially  apparent  in  the  produc- 
tion of  large  photographic  landscapes,  with- 
out which  it  is  almost  impossible  to  repre- 
sent an  atmospheric  effect  with  success. 

The  image  produced  by  a  weak  developer 
is  more  harmonious  in  its  general  character. 

92 — "Home-made  Plates."  Common 
china  or  earthenware  pots  are  very  handy 
for  coating,  as  they  tend  to  hold  back  any 
froth  or  bubbles,  which  are  the  sorest 
nuisance  in  emulsion  work.  Don't  use 
heat  in  drying  plates  after  coating.  Let 
them  dry  spontaneously  in  a  cool  and  well- 
ventilated  room.  In  the  absence  of  such  a 
room,  get  a  large,  light-tight  box,  or  chest, 
and  put  the  plates  in,  and  several  saucers 
of  chloride  of  calcium,  which  will  absorb 
the  water  from  the  plates :  they  will  dry  in 
about  two  days.  Put  in  plenty  of  the 
chloride  of  calcium.  You  need  not  waste 
it,  as  it  can  be  dried  again  over  a  kitchen 
stove  and  used  again  and  again. 

96 — "A  Workmen's  Idea."  In  regard  to 
what  artists  call  effect,  which  relates  to  pe- 
culiar arrangements  and  contrasts  of  light 
and  dark,  a  great  deal  is  said  to  be  attained 
by  a  proper  attention  to  getting  large  and 
well-formed  masses.  It  is  a  good  plan  to 
look  at  a  subject  which  you  contemplate 
taking  with  your  eyes  nearly  closed,  so  as 
not  to  see  any  of  the  detail.  If,  when 
viewed  in  this  way,  it  resolves  itself  into  a 
mass  of  confused  spots,  do  not  attempt  it. 
But,  on  the  other  hand,  if  you  find  it  hav- 
ing a  mass  of  quiet  shadow,  or  half  shadow 
with  some  deeper  tones  in  it,  and  the  rest 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


45 


half  light  concentrated  by  some  very  high 
lights,  if  the  objects  composing  it  are  at  all 
interesting  and  well  formed  in  their  out- 
lines, you  can  scarcely  help  having  an 
agreeable  picture.  A  picture  composed 
solely  of  high  light  and  deep  shadow  is 
harsh  in  its  contrasts,  and  wants  softness, 
and  one  without  either  high  light  or  deep 
shadow  is  flat  and  wanting  in  spirit.  Gen- 
erally it  is  better  to  have  the  light  falling 
at  right  angles  to  your  view  or  nearer.  In 
looking  towards  the  light  you  get  too  much 
flat  back  shadow  unbroken  by  detail,  and 
when  looking  in  the  same  direction  with 
the  light  there  is  too  much  glare,  and  ob- 
jects look  flat,  loosing  their  roundness,  and 
you  have  a  pale,  weak  picture.  Of  course, 
there  are  exceptions  to  this,  certain  subjects 
requiring  a  deviation  from  such  rules,  and 
the  artist  must  rely  on  his  judgment  as  to 
whether  the  effect  strikes  him  as  agreeable 
or  not.  Try  and  get  the  backgrounds  of 
objects  which  you  are  taking  varied  in  light 
and  dark;  not  small  spots,  but  masses.  A 
figure  posed  against  an  all  light  background, 
if  dressed  in  light,  loses  itself  and  looks  flat 
against  it;  and  if  dressed  in  black  is  too 
harshly  relieved  from  head  to  foot.  If  you 
can  get  the  dark  part  of  an  object  to  come 
against  a  light  part  of  the  background,  and 
the  light  portion  against  the  shadow,  you 
will  have  an  agreeable  effect  at  once. 

109— "The  Delectable  Dry."  Perhaps  it 
may  be  well  to  mention  that  dry  plates 
offer  a  means  of  reproducing  negatives 
never  before  placed  in  the  hands  of  photog- 
raphers, and  although  requiring  great  skill 
and  considerable  experience,  yet  can  be 
made  the  means  of  improving  many  nega- 
tives that  have  been  considered  worthless. 
With  dry  plates  as  with  wet,  although  the 
developers  may  be  modified  to  suit  the  ex- 
posures, over-exposure  counteracted  and 
under-exposure  forced  up,  yet  a  properly 
timed  negative  stands  out  alone  against  the 
numbers  of  badly  timed  plates,  for  it  must 
be  understood  that  although  the  modifica- 
tion of  developers  may  bring  a  negative 
nearly  equal,  yet  a  plate  properly  exposed 
and  developed  with  a  normal  developer  will 
surpass  them  all. 

115 — "Exposure."  Bromide  of  silver, 
whether  in  collodion  or  gelatine,  manifests 


a  tendency  to  "  blur  "  or  allow  the  light  to 
spread  beyond  the  point  at  which  the 
camera  image  stops.  There  are  many 
negatives  giving  pleasing  enough  prints  to 
the  ordinary  observer  that  would  by  no 
means  stand  the  scrutiny  of  the  focussing- 
glass  if  applied  in  search  of  "  halation." 
It  is  a  well-known  fact  that  the  least  over- 
timing increases  this  defect  in  a  marked 
manner,  and  frequently  we  see  pictures 
which  remind  us  of  a  conflict  between  the 
spirits  of  light  and  the  spirits  of  darkness, 
so  bitter  is  the  discrepancy,  and  so  hope- 
less, apparently,  the  reconciliation  between 
the  deep,  black  patches  crying  aloud  for 
detail  and  the  feeble,  muddy  lights  burnt 
out  from  over-action.  And  we  feel  safe  in 
saying  that  this  defect  is  more  common 
now  than  in  the  days  when  iodide  of  silver 
was  the  salt  used — its  yellow  color  going 
far  towards  limiting  the  action  of  light  to 
its  proper  boundary. 

"What,  then,  is  the  cure  for  this  trouble? 
There  are  two,  in  fact.  First,  the  careful 
lighting  of  the  subject,  whether  portrait, 
landscape,  or  anything  else.  Second,  the 
proper  exposure.  In  the  days  of  collodion, 
under-timing  was  dreaded  more  than  the 
opposite.  At  present,  while  an  under- 
timed,  patchy  negative  is  not  a  jot  more 
desirable  than  ever,  still  we  may  say  that 
over-timing  is  rather  to  he  avoided,  from 
the  fact  that  an  over-timed  gelatine  plate  is 
most  unmanageable  in  every  respect,  flash- 
ing up  quickly  under  the  developer,  so  that 
it  is  perforce  removed  from  this  fluid  before 
there  has  been  time  to  create  the  necessary 
printing  density,  which  is  lost  in  fog  and 
halation. 

120 — "  Nothing  to  say."  Ninety  out  of 
every  hundred  negatives  or  plates  destroyed 
by  "fog  "  could  be  saved  if  a  few  simple 
precautions  were  observed,  viz.  :  Use  a 
weak  developer.  Do  not  rush  the  image 
out  in  too  great  haste.  Have  a  great 
volume  of  light  (non-actinic)  in  your  de- 
veloping room;  you  should  be  able  to  see 
the  formation  of  the  picture  in  all  its  dif- 
ferent stages  of  development,  so  as  to  be 
able  to  note  the  least  trace  of  "fog,"  and 
stop  developing  instantly  when  such  is  the 
case,  and  finish  with  Hall's  intensifier. 
Any  quantity  of  light  (non-actinic)  may  be 


46 


THE    PHILADELPHIA    PHOTOGRAPHEE. 


allowed  during  development,  in  fact,  the 
room  should  not  be  a  dark  one,  for  you 
should  be  able  to  see  plainly  every  article 
therein  without  straining  the  eyes.  The 
quickest  working  plates  do  not  always  pro- 
duce the  best  results. 

124— "What  is  Art?"  Who  then  is  the 
greatest  artist  but  he  who  in  the  least  time 
produces  the  most  natural  result  ? 

We  find  our  query  admirably  answered  in 
a  poem  by  the  late  Mr.  Longfellow,  which 
is  as  follows  : 

"  Art  is  the  child  of  Nature  ;  yes, 
Her  darling  child,  in  whom  we  trace 
The  features  of  the  mother's  face, 
Her  aspect  and  her  attitude, 
All  her  majestic  loveliness 
Chastened  and  softened  and  subdued 
Into  a  more  attractive  grace, 
And  with  the  human  sense  imbued. 
He  is  the  greatest  artist,  then, 
Whether  of  pencil  or  of  pen, 
Who  follows  nature.     Never  man 
As  artist  or  as  artisan, 
Pursuing  his  own  fantasies, 
Can  touch  the  human  heart,  or  please, 
Or  satisfy  our  noble  needs, 
As  he  who  sets  his  willing  feet 
In  Nature's  footprints,  light  and  fleet, 
And  follows  fearless  where  she  leads." 

We  used  to  be  told,  by  old-time  operators, 
when  we  asked  how  to  get  certain  results, 
as  follows:  "Put  in  some  brains."  A 
better  answer  might  be,  now,  "  Practise 
art  in  all  your  manipulations  and  opera- 
tions." And  I  would  add,  if  you  want  to 
know  what  art  is,  read  Mosaics  for  1885, 
and  understand  what  thou  readeth  ! 


OUR  PICTURE. 


The  photographer,  no  doubt,  frequently 
asks  himself  the  question,  "Can  there  be 
any  such  thing  as  originality  in  photog- 
raphy, or,  especially,  in  portraiture?"  Do 
we  not  all  make  use  of  the  same  element  of 
light  to  call  forth  the  image  upon  the  sen- 
sitive plate  ?  Is  not  the  same  object  before 
us?  And  yet  there  is  a  difference  in  the 
work  produced ;  a  vast  difference,  not  de- 
pending alone  upon  technical  skill. 

If  we  consider  what  constitutes  origi- 
nality, we  shall  find  that  it  is  not  a  fanciful 


deviation  from  actual  nature,  a  sort  of  ec- 
centricity or  singularity  of  posing  or  light- 
ing, but  a  simple  rendering  of  that  which 
is  true  to  nature,  and  at  the  same  time 
novel. 

When  we  are  shown  an  exact  likeness  of 
a  face,  we  naturally  credit  the  artist  or 
photographer  with  skill  in  translating  the 
original ;  but  we  think  any  one  who  has 
eyes  may  paint  a  face  or  focus  it  upon  the 
ground-glass  of  the  camera.  We  imagine 
one  person  sees  it  just  like  another  person, 
and  if  there  is  any  deviation  we  lay  it  to 
the  charge  of  fancy,  thus  making  ourselves 
the  standard  of  taste.  Yet  we  may  have 
eyes  and  see  not.  Until  one  examines  a 
human  face,  he  can  have  no  idea  what  a 
complex  subject  it  is.  It  is  an  ever-changing 
mirror,  wherein  are  reflected  the  thoughts 
and  feelings  of  the  soul. 

The  mind  of  the  painter  or  photographer 
must  be  susceptible  to  these  varying  phases, 
or  his  eyes  may  "  behold  and  see  not  what 
they  see,"  and  "  what  the  best  is  take  the 
worst  to  be."  He  must  view  things  in 
their  "gayest,  happiest  attitudes." 

Eembrandt  did  not  invent  the  wonderful 
arrangement  of  his  light  and  shade.  No  ; 
he  was  the  first  to  perceive  the  beauty  in 
it.  Nature,  in  this  peculiar  mood,  had 
shown  herself  to  thousands  before  him. 
He  was  the  first  who  had  a  mind  capable 
of  perceiving  and  appropriating  it.  This 
is  originality,  true  to  nature,  yet  novel. 
And  so  others  see  grace  and  loveliness 
where  the  tasteless  eye  sees  but  a  "blank 
of  things." 

It  has  been  said  of  Eaphael's  paintings, 
that  the  women  in  the  streets  of  Kome  seem 
to  have  walked  out  of  his  pictures  in  the 
Vatican.  His  faces  seem  transcripts  from 
actual  faces ;  and  so  they  are ;  but  they 
possess,  in  addition,  that  beauty  of  expres- 
sion which  was  visible  alone  to  the  mind  of 


The  objects  of  our  study,  then,  exist  in 
nature,  but  the  power  of  perceiving  beauty 
comes  from  the  mind.  Hence,  the  reason 
why  one  painter  or  photographer  excels 
another.  "  They  know  what  beauty  is, 
see  where  it  lies." 

Mr.  P.  H.  Eose,  of  Galveston,  Texas, 
though  a  photographer,  is  possessed  of  this 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


47 


artistic  sense ;  hence,  the  excellency  of  the 
work  which  we  present  our  readers  this 
month.  He  is  not  content  with  mere 
posing  or  judicious  lighting  of  his  subject. 
He  has  seized  the  expression  en  passant  in 
a  state  of  progress  not  fixed  and  stereotyped. 
Thus  he  has  secured  an  animation  of  coun- 
tenance and  peculiar  sweetness  in  the 
moulding  of  the  features  which  are  in  per- 
fect harmony,  not  discordant.  The  eyes 
are  soft  and  capacious  as  a  cloudless  sky, 
whose  azure  depths  no  doubt  their  color 
emulates.  The  arrangement  of  the  costume 
is  such  as  to  give  the  appearance  of  natural 
negligence,  and  there  is  a  softness  in  the 
blending  of  the  lights  and  shades  which 
bears  witness  to  a  conscientious  regard  for 
detail,  which  seems  always  coupled  with 
artistic  feeling. 

The  negatives  are  upon  dry  plates,  and 
the  prints  upon  the  excellent  brand  of  1ST. 
P.  A.  albumen  paper  of  E.  &  H.  T.  An- 
thony &  Co.,  New  York. 


ON  PHOTOGRAPHING  UPON 
CANVAS. 

BY  J.  B. 

Perhaps  nothing  in  the  way  of  photog- 
raphy is  more  desired  by  the  portrait  painter 
than  a  quick  and  trustworthy  method  for 
making  direct  photographs  upon  canvas  for 
the  purpose  of  painting  in  oil.  A  great 
deal  has  been  said  of  the  superiority  of  art 
over  photography. 

In  the  higher  sphere,  art  does,  indeed, 
transcend  the  works  which  the  sun's  pencil 
may  draw;  but,  as  photography  lays  no 
claim  to  inspiration,  she  contents  herself  with 
being  the  handmaid  to  art.  I  think  no  por- 
trait painter,  unless  he  have  the  genius  of  a 
Kembrandt  or  Keynolds,  will  refuse  her  aid, 
and  rely  upon  his  own  abilities  to  portray 
the  beauty  of  expression  in  a  human  face. 
To  such,  therefore,  the  following  hints  may 
be  of  service.  It  is  not  our  intention  to 
enter  into  the  artistic  feeling  to  be  produced 
in  a  picture,  but  merely  to  give  a  few 
practical  hints  how  to  prepare  the  canvas, 
etc.,  leaving  the  laying  on  of  the  paint  and 
the  manipulation  of  the  brushes  to  the  artist. 

There  are  many  methods  which  have  been 
suggested,  but  it  must  be  remembered  that 


the  essential  is  one  which  insures  a  total 
freedom  from  all  scaling  of  the  film  from 
the  surface  of  the  canvas.  I  do  not  think 
any  one  would  be  ambitious  to  have  his 
work  present,  at  so  early  a  stage  of  its  exist- 
ence, the  appearance  of  an  antique. 

Either  the  substance  employed  must  pene- 
trate the  fibres  of  the  canvas,  or,  if  super- 
ficial, stick  with  tenacity  to  the  exterior.  I 
do  not  advocate  direct  printing  from  large 
negatives,  because,  as  a  member  of  the  fra- 
ternity, I  know  the  trouble  and  risk — not 
mentioning  the  expense — entailed  in  the 
production  of  large  direct  negatives.  There- 
fore I  have  compassion  on  my  fellow-work- 
ers, and  say,  use  your  ordinary  cabinet 
negatives,  and  enlarge  the  picture  upon  the 
canvas  to  the  size  you  require  or  your  artist 
may  desire. 

The  great  thing  in  the  preparation  of  the 
canvas  is  to  wash  it  thoroughly  clean.  Get 
all  the  grease  out  of  it,  for  there  is  plenty 
of  this  distracting  element  imprisoned  in 
its  fibres  ;  liberate  by  both  the  hot  and  cold 
water  treatment ;  then  dry  the  canvas,  and 
treat  it  to  a  bath  of  iodide  and  bromide. 
Take  either 


1. 

Bromide  of  Potassium, 

2  ounces 

Bromide  of  Cadmium, 

.         i      " 

Water, 

.  120 

or 

2. 

Bromide  of  Potassium, 

.       H      " 

Iodide  of  Potassium, 

.         i      " 

Bromide  of  Cadmium. 

.         i      " 

Water, 

.  120        " 

The  canvas  is  drawn  through  this  solu- 
tion, which  is  supposed  to  be  in  a  tray  a 
trifle  larger  than  the  piece  of  canvas.  Now 
hang  it  up  to  dry  again.  When  dry,  it  is 
sensitized  upon  the  following  bath  : 


Nitrate  of  Silver, 

2  parts. 

Citric  Acid, 

£  ounce 

Water, 

70  ounces. 

Again  dry  the  canvas.  The  exposure 
may  either  be  made  by  an  ordinary  solar 
camera  in  sunlight,  or  by  artificial  light. 
A  good  method  for  the  latter  I  saw  in  the 
Philadelphia  Photographer  for  last 
year,  which  consists  in  the  use  of  a  sort  of 
magic  lantern  for  projection  upon  the  sur- 
face of  the  canvas.  A  good  way  to  support 
the  canvas  after  it  has  been  sensitized  is  to 


48 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


fasten  it  by  means  of  clips  to  the  four  cor- 
ners of  a  flat  board.  In  its  position  upon 
the  board  it  can  be  handled  at  will.  The 
exposure  varies.  It  is  better  to  give  plenty 
of  time,  and  the  subject  is  ready  for  devel- 
opment. The  developer  consists  of  a  mix- 
ture of  citric  acid  and  pyrogallic  acid  and 
water  ;  about — 


Pyrogallic  Acid, 

5  ounces 

Citric  Acid, 

.       22J      " 

"Water, 

.     205        " 

It  is  best  to  apply  the  developer  slightly 
warm.  Let  the  exposed  canvas  lie  in  the 
bath  until  all  the  detail  comes  up  ;  the  time 
necessary  to  effect  this  varying  from  five  to 
ten  minutes.  The  print  is  then  washed 
thoroughly,  and,  if  necessary,  it  may  be 
toned  with  the  ordinary  gold  solution  used 
for  paper  prints.  The  fixing  is  accomplished 
likewise  as  with  ordinary  paper  prints. 
After  washing,  the  canvas  may  be  stretched 
upon  a  frame,  and  is  ready  for  the  artist  to 
display  his  genius  and  inspiration  upon. 

German  canvas  seems  to  be  better  adapted 
than  our  own  for  the  purpose,  as  it  seems  to 
be  freer  from  grease ;  or,  at  least,  the 
foreign  substances  in  it  yield  more  readily 
to  the  hot  and  cold  water.  It  is  best  also 
to  have  an  assistant  to  aid  in  drawing  the 
canvas  throygh  the  sensitive  bath.  It  is 
first  dipped  in  the  bath  ;  then  drained  by 
running  over  a  glass  rod.  In  this  manner 
the  canvas  is  thoroughly  saturated,  and  all 
excess  of  liquid  cleared  from  the  surface. 

No  especial  care  is  needed  in  handling 
the  canvas  after  development.  Indeed,  it 
may  be  crumpled  up  and  washed  like  an 
ordinary  dirty  piece  of  goods  intended  for 
the  laundry.  Don't  be  afraid  to  use  plenty 
of  water.  At  this  stage  the  print  has  a  red 
appearance;  if  this  is  not  liked,  it  can  be 
subjected  to  the  toning  process  mentioned 
above.  Both  the  toning  and  fixing  require 
less  time  than  with  paper  prints,  because  the 
chemicals  permeate  the  canvas  more  readily 
Don't  fail  to  wash  the  canvas  thoroughly 
after  the  fixing.  Go  at  it  with  all  the  vigor 
of  a  washer-woman. 

After  the  picture  is  complete,  and  dried 
upon  the  stretcher,  it  presents  rather  a  woe- 
begone appearance  ;  but  don't  despair;  this 
is  merely  caused  by  the  minute  particles  of 


thread  which  have  escaped  their  moorings 
and  stand  up  like  quills  upon  the  fretted 
porcupine.  A  little  wax  transforms  the 
whole  into  a  thing  of  beauty.  The  wax  is 
applied  in  a  semi-fluid  condition  and  well 
rubbed  in,  heat  being  used  in  the  process. 
This  not  only  gives  brilliancy  to  the  surface, 
but  affords  a  transparency  to  the  shadows. 

When  finished  the  picture  is  really  beau- 
tiful, and  hardly  deserves  to  be  tortured 
with  the  paint  of  the  artist.  But,  as  the 
artist  demands  them,  and  the  public  are  not 
high  enough  in  art  culture  to  appreciate 
them  without  color,  and  with  the  nice 
gradations  of  shade,  let  the  artist  have 
them.  But,  as  you  value  your  art,  try  to 
persuade  him  not  to  destroy,  with  unsightly 
blotches  of  opaque  color,  the  transparent 
shadows  and  the  beautiful  high  lights  which 
you  have  made  for  him  with  toil  and  sweat. 


DEATH  OF  MR.  HENRY 
GREENWOOD. 

Although  photography  does  not  owe  its 
birth  to  Englishmen,  yet  it  has  received 
greater  nurture  from  British  scientists  than 
from  any  other  source.  Especially  in  late 
years  they  have  had  almost  entire  pos- 
session of  this  field  of  important  discovery. 
It  is  therefore  with  great  regret  that  we 
hear  from  time  to  time  of  the  going  out  of 
the  great  lights  which  have  guided  its 
steps.  Last  year  it  was  our  painful  duty  to 
chronicle  the  names  of  those  who  are  "  hid 
in  death's  dateless  night;  and  now,  at  the 
beginning  of  the  new  year,  we  must  record 
the  death  of  another  eminent  man — Mr. 
Henry  Greenwood,  of  Liverpool. 

Mr.  Greenwood's  name  is  familiar  to 
every  intelligent  photographer  as  the  able 
publisher  and  manager  of  the  British  Jour- 
nal of  Photography.  His  efforts  were  un- 
tiring for  the  advance  of  the  art,  the  best 
talent  in  editorial  and  experimental  work 
being  associated  with  him.  Erom  a  mere 
local  society  organ,  he  elevated  his  journal 
to  a  world-wide  known  medium  for  the  ad- 
vancement of  photography,  which  now  is  a 
monument  to  his  energy,  zeal,  and  broad- 
ness of  view. 

Mosaics  for  1885  is  rich  in  suggestions. 


THE    PHILADELPHIA    PHOTOGrEAPHEE. 


49 


SOCIETY  GOSSIP. 

The  Photographic  Society  of  Phila- 
delphia.— Minutes  of  the  regular  meeting 
held  Wednesday  evening,  January  7,  1885, 
the  President,  Mr.  Joseph  W.  Bates,  in  the 
Chair. 

The  minutes  of  the  preceding  meeting 
having  been  read  and  confirmed,  the  Execu- 
tive Committee  made  a  report  in  favor  of 
the  incorporation  of  the  Society,  and  Messrs. 
Samuel  Sartain,  John  C.  Browne,  and  Jos. 
H.  Burroughs  were  appointed  a  committee 
to  revise  the  Constitution  and  By-Laws, 
preparatory  to  applying  for  an  Act  of  In- 
corporation. 

The  committee  to  draft  resolutions  regard- 
ing the  death  of  Mr.  Bobert  W.  Learning 
offered  the  following,  which  were  unani- 
mously adopted : 

"  The  Photographic  Society  of  Philadel- 
phia, having  heard  with  deep  regret  of  the 
death  of  Bobert  W.  Learning,  one  of  its 
oldest  members,  the  following  resolutions 
were  adopted : 

" '  That,  in  the  death  of  our  valued  friend, 
this  Society  loses  one  who  has  given  much 
of  his  time  and  abilities  to  advancing  the 
art  of  photography.  As  an  artist,  he  en- 
joyed a  distinguished  reputation  among  us; 
and  as  a  man,  his  excellent  qualities  were 
highly  appreciated.  Lamenting  his  sudden 
death,  we  respectfully  offer  our  heartfelt 
sympathy  to  his  sorrowing  family.' 

"  '  Resolved,  That  this  minute  be  entered 
in  the  records  of  the  Society,  and  a  copy  be 
sent  to  the  family  of  our  deceased  mem- 
ber.'" 

Messrs.  James  Mapes  Dodge  and  David 
J.  Hoops  were  elected  active  members,  and 
two  names  were  proposed  for  election  at  the 
next  meeting. 

Mr.  John  G.  Bullock  offered  a  resolution 
that  a  committee  of  three  be  appointed  to 
consider  the  feasibility  of  holding  a  photo- 
graphic exhibition  during  the  fall  or  winter 
of  1885,  which,  being  carried,  Messrs.  John 
G.  Bullock,  Frederick  Graff,  and  Robert  S. 
Bedfield  were  so  appointed. 

Mr.  Browne  proposed  a  series  of  rules 
governing  the  lantern  exhibitions  of  the 
Society,  with  a  view  to  making  them  repre- 
sentative of  the  work  of  the  members,  and 


Messrs.  William  H.  Bau,  Frank  Bement, 
and  Galloway  C.  Morris  were  appointed  a 
committee  to  superintend  such  an  exhibi- 
tion. 

A  question  in  the  box  asked,  "What  is 
the  reason  that  the  albumen  apparently 
washes  entirely  off  the  paper  while  floating 
on  the  silver  bath  ?  I  have  been  told  that 
the  bath  being  too  alkaline  would  produce 
this  result ;  but  in  this  case,  plain  water 
has  the  same  effect." 

Mr.  McCollin  said  it  might  be  caused  by 
a  weak  bath,  or  by  cold  weather.  The  al- 
bumen not  being  coagulated,  would  be  dis- 
solved by  the  excess  of  alkali. 

Mr.  Browne  had  never  known  it  to  hap- 
pen with  a  bath  as  strong  as  seventy  grains 
to  the  ounce. 

Mr.  Gilbert  had  studied  the  trouble  for 
seven  or  eight  years,  and  attributed  it  to 
several  causes.  An  alkaline  bath  would 
cause  it,  also  floating  on  the  bath  too  long, 
or  using  a  weak  bath.  If  the  albumen  was 
old  and  thin,  a  strong  bath  would  cause  it. 

Mr.  Bau  had  cured  the  trouble  by  adding 
one  ounce  of  alcohol  to  each  quart  of  bath, 
or  a  lump  of  alum  would  sometimes  over- 
come it. 

Mr.  Bartlett  called  attention  to  a  change 
of  form  of  crystallization  which  he  had  no- 
ticed in  certain  salts  when  mixed  with  col- 
loid substances. 

Mr.  Samuel  Sartain  had  heard  Prof.  Mor- 
ton speak  of  the  same  phenomenon  as  shown 
by  polarized  light,  the  crystals  being  flat- 
tened in  form  when  mixed  with  certain 
gummy  substances. 

Mr.  Corlies  showed  an  instantaneous  view 
of  a  horse  and  rider  leaping  a  hurdle,  taken 
at  the  Pennsylvania  State  Pair,  by  Mr.  John 
Moran.  The  original  picture,  3  x  2J,  and 
an  enlargement,  7x4J,  were  shown. 

A  number  of  pictures  which  had  been 
sent  by  members  to  the  late  exhibition  at 
Boston  were  hung  on  the  walls  of  the  room, 
and  attracted  much  attention. 

Adjourned. 

Forty-six  members  present. 

Bobert  S.  Bedfield, 

Secretary. 

The  Rochester  Photographic  Associa- 
tion at  their  meeting,  held  December  15th, 


50 


THE   PHILADELPHIA    PHOTOGKAPHEK. 


discussed  the  question,  "What  developer 
gives  the  best  negative?" 

Mr.  Inglis  desired  to  substitute  as  the 
subject  for  discussion  the  following  :  "  "What 
constitutes  one  developer  better  than  an- 
other?"    Agreed  to. 

Mr.  Wardlaw:  My  opinion  is  that  it  is 
the  best  printing  negative  which  shows 
what  is  the  best  developer. 

Mr.  Inglis :  You  do  not  take  into  con- 
sideration the  time  consumed  in  bringing 
the  negative  to  that  state,  nor  the  expense. 

Mr.  Wardlaw  :  Yes  ;  that  which  is  the 
best  developer  irrespective  of  cost  and 
everything  else. 

Mr.  Lee  :  I  understand  the  question  to 
be,  Which  is  the  best  general  developer  for 
dry  plates — that  is,  what  developer  would 
give  the  best  results?  My  experience  is 
that  it  is  plain  pyro  and  ammonia. 

Mr.  Inglis  asked  why. 

Mr.  Lee:  Because  I  can  obtain  as  good 
a  quality  of  negative  with  it  as  with  any 
other,  and,  as  far  as  economy  is  concerned, 
I  think  it  is  as  cheap. 

Mr.  Mawdsley:  Other  means  of  making 
alkaline  are  better  in  some  cases.  I  find 
that  pyro  and  ammonia  is  the  best  developer 
in  my  experience. 

Mr.  Lee :  I  have  heard  a  great  many 
things  said  in  favor  of  pyro,  and  alkaline, 
and  oxalate,  but  in  my  experience  I  can  do 
better  with  the  old  Edwards  formula,  and 
I  find  it  produces  a  better  negative  than 
with  any  of  the  new  ones. 

Mr.  Inglis:  In  discussing  this  question 
we  may  all  differ  and  contradict  each  other, 
but  still  we  may  be  in  the  best  of  harmony. 
I  never  yet  saw  such  a  contradiction  as 
there  is  in  dry  plates,  but  I  find  it  an  ap- 
parent contradiction,  and  can  be  easily  har- 
monized ;  that  which  is  good  for  one  thing 
under  certain  circumstances  is  very  bad  for 
another  under  other  circumstances,  and  we 
are  all  speaking  of  things  as  we  have  found 
them.  Now,  to  put  a  little  spice  into  the 
question  under  discussion,  I  have  found  the 
potash  and  soda  developer  far  better  than 
the  ammonia. 

Mr.  Lee :  I  would  like  to  ask  Mr.  Inglis 
if  he  can  develop  a  plate  which  is  a  little 
under-timed  and  obtain  as  good  a  negative 
as  he  can  with  pyro  and  ammonia? 


Mr.  Inglis :  In  my  experience  I  have  ob- 
tained one  much  better. 

Mr.  Lee :  I  have  not  been  able  to  de- 
velop with  soda  and  get  a  negative  of  it  at 
all  under-timed. 

Mr.  Inglis :  I  will  give  my  reasons  why 
I  prefer  potash  and  soda  to  ammonia.  I 
have  used  ammonia  and  thought  it  was  ex- 
ceedingly good,  and  nothing  could  be  better. 
If  I  have  an  under-timed  negative,  I  find 
that  with  the  potash  and  soda  I  can  bring 
it  forward  gradually,  but  with  the  ammonia 
it  seems  to  come  to  an  end  at  once. 

Mr.  Lee :  In  my  experience,  when  my 
negative  is  fixed  it  would  be  very  dense  and 
hard,  and  would  be  a  slow  printing  nega- 
tive with  a  soda  developer,  after  carrying 
it  as  you  say. 

Mr.  Wardlaw  :  I  have  used  plates  that 
have  been  recommended  to  be  used  with 
the  soda  developer,  and  showed  a  trace  of 
green  fog  or  film ;  it  developed  hard,  but 
there  was  so  little  of  it  that  it  did  not  ap- 
pear at  all  in  the  printing.  I  obtained 
much  nicer  high  lights  than  I  did  with  the 
potash  developer. 

Mr.  Dumont :  I  have  used  the  potash  de- 
veloper and  the  high  lights  seemed  to  come 
up  all  at  once.  I  did  not  get  the  gradation 
that  I  did  with  ammonia,  or  with  the  Ed- 
wards developer. 

Mr.  Inglis:  That  may  be.  I  know  a 
brand  of  plates  that  the  soda  developer  is 
recommended  to  be  used  with,  but  I  found 
it  did  not  work  well ;  they  would  become  a 
dense  white.  I  will  admit  that  I  am  per- 
fectly unable  to  make  every  batch  of  emul- 
sion alike.  I  obtain  them  in  a  general  way. 
There  is  considerable  range  between  each 
kind ;  one  batch  will  be  better  with  am- 
monia and  one  with  another  alkaline.  If 
I  could  only  tell  the  photographer  to 
modify  his  developer  in  such  and  such  a 
way,  he  would  obtain  much  better  results. 

Mr.  Wardlaw:  I  suppose,  then,  that  I 
am  perfectly  safe  in  using  ammonia  on  all 
plates  ? 

Mr.  Inglis :  I  think  ammonia  will  give 
good  results  on  all  plates  that  are  offered 
for  sale. 

Mr.  Wardlaw :  In  using  the  ammonia 
developer  on  an  under-timed  negative  I 
would  use  less  of  the  bromide  solution,  and 


THE   PHILADELPHIA    PHOTOGEAPHEE. 


51 


when  I  get  enough  detail,  instead  of  adding 
pyro  I  would  add  a  little  bromide  and  get 
the  strength,  and  in  that  way  if  I  found  the 
green  fog  coming  on  I  would  use  a  smaller 
quantity  of  ammonia. 

Mr.  Inglis :  That  shows  the  beauty  of 
the  dry-plate  process  ;  one  man  can  take 
the  ammonia  and  work  it  to  his  satisfaction, 
and  another  can  use  these  other  developers. 
It  shows  what  a  latitude  there  is  in  the  dry- 
plate  process,  and  how  much  photographers 
have  in  their  hands  to  produce  good  work. 

Mr.  Wardlaw  :  I  think  there  is  no  ques- 
tion at  all  in  the  superiority  of  dry  plates. 

Mr.  Inglis :  "While  it  shows  that,  it  also 
indicates  how  necessary  it  is  for  a  photog. 
rapher  to  use  his  brains  in  manipulating 
dry  plates,  because  from  what  I  have  al- 
ready said  the  manipulation  of  one  plate  is 
the  ruination  of  another.  The  photog- 
rapher, I  am  afraid,  will  be  very  apt  to 
throw  the  blame  upon  the  plate,  whereas  it 
is  in  himself  in  not  manipulating  the  de- 
veloper to  the  particular  kind  of  plate. 

Mr.  Pomeroy :  As  far  as  my  experience 
has  gone  I  prefer  the  potash  developer.  I 
think  that  Mr.  Inglis  is  right.  What  will 
work  well  with  one  plate  will  not  with  an- 
other. 

Mr.  Inglis  :  After  you  have  sifted  this  all 
out,  the  best  developer  is  the  one  that  will 
give  the  best  results. 

Mr.  Larned :  I  think  that  could  be  de- 
cided in  the  same  manner  as  the  make  of 
plates.  I  think  it  shows  that  all  of  us  are 
speaking  of  a  developer  in  conjunction  with 
different  grades  of  plates. 

Mr.  Wardlaw  :  I  stick  to  ammonia  for  all 
brands  of  plates,  and  find  I  can  do  better 
with  it.  There  are  other  things  besides 
time  to  be  considered ;  there  is  the  devel- 
oper which  will  give  you  the  proper  light 
on  your  negative  the  same  as  that  which 
you  see  on  your  ground  glass.  The  best 
developer  for  use  is  the  one  which  produces 
the  same  effect  on  the  plate  as  it  does  on 
the  ground  glass. 

Mr.  Dumont:  I  am  accustomed  to  the 
ammonia  developer,  and  obtain  the  best 
success  with  it. 

Mr.  Eannister  :  My  experience  has  been 
rather  limited.  I  have  always  preferred 
the  ammonia  developer. 


Mr.  Larned :  I  think  those  who  use  a 
particular  developer  are  prejudiced  against 
the  others,  and  will  not  give  a  fair  test  to 
the  opposing  ones. 

Mr.  Inglis :  It  is  evident  that  the  pre- 
ponderance of  evidence  is  in  favor  of  am- 
monia, but  I  think  those  who  are  in  favor 
of  it  have  been  more  accustomed  to  it.  I 
have  tried  the  ammonia,  prejudiced  in  its 
favor  as  against  potash,  and,  therefore,  I 
am  the  best  one  to  pass  judgment  upon  it. 
I  was  in  favor  of  ammonia,  and  it  was  very 
much  against  my  will,  or  desire  rather,  that 
I  changed  from  ammonia  to  potash.  I  did 
a  few  weeks  ago  endeavor  to  make  myself 
see  better  results  from  ammonia  than  I  had 
from  potash,  but  I  failed  to  do  so,  and, 
therefore,  became  doubly  satisfied  that 
potash  is  the  best,  and  my  advice  to  you 
all  is  to  try  it. 

Mr.  "Wardlaw:  I  was  prejudiced  against 
the  ammonia  developer  and  in  favor  of 
potash  and  soda,  because  I  could  keep  my 
hands  cleaner. 

Mr.  Inglis  :  You  mentioned  soda.  I  did 
say  that  I  found  the  quality  that  I  liked  in 
the  soda  developer,  which  was  the  density, 
but  in  obtaining  that  I  lost  the  fine  delicacy 
that  1  got  with  the  potash,  and  when  you 
come  to  the  final  finish  of  a  negative  that  is 
the  thing  which  makes  it  superior  to  an- 
other. 

A  SUMMER  IN  KENTUCKY  WITH 
GELATINE  PLATES. 

BY    WILLIAM   BELL. 

John  E.  Proctor,  Director,  Kentucky 
State  Geological  Survey,  besides  his  geo- 
logical work,  used  photography  to  illus- 
trate his  State's  productiveness,  and  hon- 
ored myself  with  a  position  on  his  survey 
as  photographer.  The  work  consisted  in 
visiting  one  county,  then  another,  and  so  on, 
untilnearly  all  the  counties  in  the  State  had 
been  photographed.  Mr.  Proctor  had  several 
operators  and  they  were  placed  in  given  dis- 
tricts to  obtain  the  views,  which  consisted  of 
farms,  stock,  cattle,  timber,  farm  scenes, 
ploughing,  sowing,  reaping,  threshing,  etc. 
The  size  of  the  plates  used  was  from  5x8 
to  8  x  10,  and  from  these,  enlargements  on 
glass  22  x  24,   18  x  22,  and   11  x  14   were 


52 


THE  PHILADELPHIA  PHOTOGEAPHEE. 


made  by  the  best  artists  in  Kentucky, 
such  as  Mullen,  of  Lexington,  Klauber,  of 
Louisville,  and  Fox,  of  Danville.  One  who 
has  spent  most  of  his  lifetime  in  the  North, 
as  I  have,  is  not  very  well  prepared  for  the 
surprises  that  await  him  in  the  blue  grass 
region.  Fine  farms,  wood-like  groves,  no 
underbrush,  but  all  in  grass,  and  being 
pastured  with  cattle  whose  price  is  almost 
fabulous,  a  group  of  eight  or  ten  being 
valued  at  $80,000,  on  the  Alexandria  Farm 
of  3000  acres  and  so  well  kept  under  the 
superintendence  of  Mr.  Brodhead  that  it 
excels  the  famous  parks  of  England.  And 
then  the  stables,  and  the  noted  horses 
practising  on  the  farm  track — I  confess  my 
inability  to  describe  them,  so  will  not  try. 
Having  always  relied  upon  wet  plates  for 
fine  work,  I  had  my  doubts  whether  any 
could  equal  wet-plate  results,  and  /  still 
have  them,  but  the  great  difference  in  the 
ease  in  using  the  two  processes  makes  one 
lean  toward  the  dry,  and  forget  that  they 
are  not  up  to  the  standard,  besides  many 
subjects  were  had  that  would  have  been  im- 
possible with  our  old  friend  collodion. 

I  found  my  greatest  trouble  in  changing 
the  Ex.  plates.  Photographers  kindly  gave 
me  their  dark-rooms  on  asking  the  privi- 
lege, but  I  used  them  with  dread,  as  in 
most  of  them  the  light  used  was  through 
several  thicknesses  of  yellow  tissue  paper, 
but  by  getting  into  a  corner  and  shielding 
the  plates  with  my  body,  did  not  have  them 
fog.  The  photographer  in  Paris,  Ky., 
smiled  at  me  and  wondered  why  I  took 
such  precautions,  as  he  used  the  same  light 
to  develop  his  plates  by,  and  truly  his  de- 
veloped negatives  had  not  the  slightest  trace 
of  fog.  I  could  only  say  wonderful.  Had 
they  been  fogged  all  over  I  would  not  have 
been  surprised  ;  it  shows  the  great  latitude 
in  dry  plates.  I  used  Carbutt's  special  and 
Cramer's  plates  (I  did  not  have  a  bad  one 
in  hundreds  used) ;  Hoover's  developer. 
Used  the  citric  acid  and  alum  bath  between 
developing  and  fixing,  as  by  its  use  I  found 
that  the  plates  needed  but  little  washing 
before  putting  into  the  fixing-bath  (wells 
had  given  out  and  all  water  used  had  to  be 
carried  in  buckets  to  the  third  story).  A 
lump  of  ice  was  kept  in  the  fixing-bath,  and 
in  the  water  that  the  plates  were  soaked  in 


before  the  final  washing.  It  might  be  said 
that  this  using  ice  was  not  necessary;  well, 
when  it  was  not  used  the  gelatine  on  the 
plates  simply  melted.  In  the  water  in 
which  the  plates  were  soaked  I  also  put 
chrome  alum.  One  cannot  be  too  careful, 
as  the  Ex.'  plates  had  cost  time  and  money, 
and  if  lost  by  frilling,  it  would  have  been 
by  the  operator's  carelessness.  Exposures 
ranged  from  cap  on  and  off  up  to  twenty 
seconds.  No  register  was  kept,  but  by 
commencing  with  the  old  developer  and 
watching  the  plate,  one  knew  whether  to 
let  it  remain  or  remove  it  to  a  fresh  de- 
veloper. 

Having  commenced  with  pyro  develop- 
ment I  stuck  to  it,  but  was  often  tempted  to 
change  to  ferrous  oxalate,  Mr.  Mullen's  re- 
sult with  that  developer  being  so  superior, 
its  use  easy,  and  the  color  of  the  finished 
negative  better  than  the  pyro,  even  after 
the  decolorizing  bath  had  been  used,  some- 
times taking  away  strength  along  with  the 
color.  I  did  not  have  a  plate  "  light-struck," 
as  I  was  careful  to  keep  the  camera  covered 
with  the  head-cloth  (no  matter  how  good  the 
camera  and  plate-holders  were),  and  never 
drawing  the  slide  or  closing  only  under 
the  cover.  I  had  no  losses  from  that  cause, 
and  altogether  was  very  well  satisfied  with 
the  summer's  trip  with  gelatine  dry  plates, 
and  should  any  of  your  readers  visit  the 
New  Orleans  Exposition,  if  they  will  search 
for  the  Kentucky  State  exhibit,  they  will 
see  the  glass  house  made  up  of  enlarged 
transparencies,  and  be  able  to  judge  of  their 
use  and  value,  and  feel  grateful  to  Mr. 
John  K.  Proctor,  of  Frankfort,  Ky.,  who 
has  used  photography,  making  it  honored 
as  well  as  useful. 

I  would  say  a  few  words  to  my  brother 
photographers.  It  is  not  the  ten-dollar 
outfit  worked  as  a  machine  that  we  need 
fear,  but  the  ten-dollar  outfit  worked  by 
an  artist.  While  he  produces  a  negative 
very  seldom  technically  as  perfect  as  we 
professionals,  yet  his  poor  photograph  is 
more  acceptable  than  our  finer  results.  We 
need  not  seek  far  for  the  cause — want  of 
artistic  perception  on  the  part  of  the  profes- 
sional. Artists  in  wet-plate  times  avoided 
photography ;  it  was  too  hard  work,  fear- 
fully dirty,  etc.     But  these  being  removed 


THE  PHILADELPHIA  PHOTOGEAPHEE. 


53 


by  the  dry,  artists,  in  large  numbers,  are 
using  photography,  and  producing  work 
that  makes  a  candid  operator  wish  that  his 
work  had  more  of  the  artistic  element  than 
photographic  excellence. 

I  hope  that  we  all  will  improve  in  that 
particular  in  which  we  are  most  deficient. 

PERTAINING  TO  THE 


Cincinnati,  Jan.  17,  1885. 

To  the  Photographers  of  America. 

It  is  scarcely  five  months  since  the  Pho- 
tographers' Association  of  America  held 
their  fifth  annual  convention  at  Cincinnati, 
and  we  have  now  commenced  to  arrange 
for  what  will  be  the  model  convention  in 
the  life  of  the  Association.  The  Executive 
Committee  have  had  a  meeting  at  Buffalo, 
and  were  in  session  for  three  days,  accom- 
plishing considerable  work  in  making 
several  important  changes  in  its  manage- 
ment. The  beautiful  city  of  Buffalo,  with 
all  the  advantages  it  possesses,  should  en- 
title it  to  be  called  the  convention  city. 
"We  have  secured  its  immense  Music  Hall 
for  the  display  of  photographs,  apparatus, 
and  accessories ;  the  stockdealers  have  ex- 
pressed themselves  that  their  department 
will  excel  all  former  efforts ;  the  light  for 
the  exhibition  will  be  perfect.  We  have 
also  secured,  for  business  meetings  and  de- 
monstrations, the  concert  hall  in  the  same 
building,  considered  one  of  the  finest  in  the 
country  for  its  acoustic  qualities.  Our  en- 
ergetic local  Secretary  has  his  plans  all 
made,  and  the  photographic  fraternity  can 
confidently  look  forward  to  an  instructive 
exhibition  that  will  outstrip  its  predecessors. 
Many  papers  of  practical  value  will  be  read, 
besides  demonstrations  given  of  all  that  is 
new  in  our  rapidly  advancing  art. 


One  of  the  features  of  our  Convention 
will  be  an  excursion  to  the  famous  Niagara 
Falls,  and  those  who  wish  to  linger  until 
evening  at  this  world's  wonder  will  have 
an  opportunity  to  see  it  illuminated  by 
electric  light,  a  sight  that  will  never  be 
forgotten.  It  is  the  duty  of  every  photog- 
rapher to  attend  this  Convention,  and, 
moreover,  it  is  recessary  for  each  member 
to  make  an  exhibit  of  his  best  efforts  ;  there 
will  be  plenty  of  room  for  all,  and  I  would 
most  earnestly  urge  you  to  show  the  world 
that  we  are  progressing.  The  public  gen- 
erally are  not  fully  aware  of  the  magnitude 
of  our  industry,  and  we  must  impress  them  ; 
let  our  art  be  shown  in  all  its  branches  and 
indicate  our  individuality  ;  there  is  an  un- 
limited field  from  which  we  can  gather  ; 
let  us  show  our  good  taste  in  the  selec- 
tion of  subjects.  I  would  suggest  that  we 
illustrate  a  thought,  a  sentiment,  or  story. 
Genre  pictures  are  always  full  of  interest ; 
let  our  aim  be  for  high  art.  Send  us  ar- 
tistic portraits,  beautiful  landscapes,  and 
skilful  architectural  photographs. 

The  chemical  and  scientific  part  of  our 
profession  is  making  rapid  strides,  but  we 
do  not  want  it  to  outrun  the  artistic. 

Fraternally,         J.  Landy. 

Genbsee  House, 
Buffalo,  N.  Y.,  Jan.  12,  1885. 

Executive  Committee  meeting  called  to 
order.  W.  A.  Armstrong  elected  Chair- 
man ;  Joshua  Smith,  Secretary. 

Present:  J.  Landy,  W.  Armstrong, 
Joshua  Smith,  Leo  Weingartner,  H.  Mc- 
Michael,  J.  F.  Ryder  (by  invitation). 

Mr.  Armstrong  stated  that  he  had  re- 
ceived a  letter  from  W.  H.  Sherman  in 
regard  to  his  report  as  Secretary  of  this 
Association  for  the  year  1883.  Mr.  Sher- 
man stated  that  he  sent  Leo  Weingartner 
his  report.  Mr.  Weingartner  said  he  had 
no  recollection  of  receiving  said  report. 

Mr.  Smith  made  a  motion,  which  was 
carried,  that  Messrs.  Landy  and  Wein- 
gartner be  appointed  a  committee  to  look 
up  this  report  and  make  proper  acknowledg- 
ment to  Mr.  Sherman. 

Mr.  Armstrong  reported  the  total  receipts 
for  the  year  1884  to  be  $3792.30,  expendi- 
tures, $3200.86.     Balance  on  hand,  $591.44. 


54 


THE    PHILADELPHIA   PHOTOGRAPHER 


Mr.  Weingartner  said  he  had  in  his  pos- 
session $10  received  from  Mr.  Spurgeon, 
which  he  turned  over  to  Mr.  Armstrong, 
increasing  balance  on  hand  to  $601.44. 

Report  of  Mr.  Armstrong  accepted. 

In  the  itemized  report  of  the  Treasurer 
there  was  an  omission  of  the  names  of  sev- 
eral of  the  largest  contributors  to  the  Asso- 
ciation Fund,  among  them  Mr.  G.  Cramer, 
Mr.  L.  W.  Seavey,  The  Blair  Tourograph 
Company,  Mr.  J.  C.  Somerville,  Mr.  G. 
Genert,  Mr.  Hyatt,  and  Mr.  Gustave  Bode. 

Mr.  Weingartner  stated  that  the  contri- 
butions of  the  above  gentlemen  were  in- 
cluded in  the  $840.00  turned  over  to  the 
Treasurer  in  bulk,  and  all  contributions  for 
advertisements  in  the  book  were  his  own 
individual  property. 

Mr.  Armstrong  reported  a  bill  from  the 
Scovill  Manufacturing  Company  of  $55.00 
for  damage  to  camera  box,  and  asked  for 
action.  Mr.  Landy  was  appointed  a  com- 
mittee to  investigate  this  case,  and  learn,  if 
possible,  by  whom  the  box  was  broken,  and 
if  the  Association  be  found  responsible  for 
the  damage,  to  order  the  bill  paid. 

Adjourned. 

January  13th.  Meeting  called  to  order. 
Full  Committee  present,  including  G.  M. 
Carlisle,  who  had  failed  to  receive  a  notice 
of  the  meeting  until  the  12th,  but  arrived 
this  morning.  Minutes  of  last  meeting 
read  and  approved.  Mr.  Leo  Weingartner 
tendered  his  resignation  as  Becording  Sec- 
retary of  the  Association.  Besignation 
accepted. 

President  Landy  appointed  H.  Mc- 
Michael,  of  Buffalo,  his  successor. 

It  was  decided  to  fix  t.he  date  for  the  Con- 
vention, July  14th  to  18th,  inclusive,  at 
Music  Hall,  Buffalo,  New  York. 

By  vote  it  was  ordered  that  $150  be  placed 
in  the  hands  of  the  Secretary,  to  commence 
the  duties  of  his  office. 

The  amendments  as  passed  at  Cincinnati 
were  placed  in  their  respective  sections  in 
the  Constitution,  and  3000  copies  ordered 
printed. 

The  Treasurer  was  instructed  to  mail  to 
each  member  a  notice,  asking  payment  of 
annual  dues. 

The  matter  of  securing  badges  was  in- 
trusted to  the  Secretary. 


Instead  of  receiving  contributions  from 
stockdealers  and  the  manufacturers  of  ac- 
cessories and  appliances  pertaining  to  pho- 
tography, it  was  determined  to  charge  15 
cents  per  square  foot  for  all  space  in  the 
centre  of  the  main  hall,  and  10  cents  per 
square  foot  for  all  space  outside  of  the  main 
centre. 

Meeting  called  to  order.  Minutes  read 
and  approved. 

Resolved,  That  the  stockdealers  of  the 
country  be  asked  to  cooperate  with  the  Ex- 
ecutive Committee  of  the  Association  in 
securing  reduced  rates  from  railroad  and 
steamboat  companies  for  transportation  to 
the  Convention  at  Buffalo.     Passed. 

Moved  and  seconded,  that  Mr.  McMichael 
be  constituted  a  Committee  on  Hotel  Ac- 
commodations. 

Moved  and  seconded,  that  Mr.  Smith  be 
empowered  to  secure  the  services  of  a  sten- 
ographer.    Passed. 

Resolved,  That  each  of  the  Executive 
Committee  furnish  a  practical  paper  upon 
the  subject  of  photography,  or  procure  some 
competent  person  to  present  such  paper,  the 
reading  of  which  shall  not  consume  more 
than  ten  minutes.     Passed. 

By  Mr.  Landy :  Resolved,  That  Messrs. 
Joshua  Smith,  of  Chicago  ;  G.  Genert,  of 
New  York  ;  and  J.  E.  Byder,  of  Cleveland, 
be  a  committee  to  solicit  an  exhibition  of 
foreign  photographs  for  the  Buffalo  Con- 
vention.    Passed. 

By  Mr.  Armstrong:  Resolved,  That  to 
secure  a  proper  attendance  at  the  morning 
sessions,  it  will  be  necessary  to  close  the 
stock  department  and  the  exhibit  rooms 
between  the  hours  of  ten  and  twelve 
o'clock,  A.M. 

PROGRAMME. 

Tuesday,  July  14th,  10  A.  M. 

Morning  Session. 

Address  of  Welcome  by  the  Secretary. 
Introduction  of  the  President. 
President's  Address. 
Reports  of  Committees. 
Appointment  of  a  Committee  to  nominate 
officers  and  location  for  next  Convention. 
Miscellaneous  Business. 
President's  Annual  Report. 


THE  PHILADELPHIA  PHOTOGRAPHER. 


55 


Afternoon  Session. 
Beading  Papers  pertaining  to  the  interest 
of  Photography. 

Discussions  on  Practical  Photography. 

Wednesday. 

Morning  Session. 
Keport  of  Nominating  Committee. 
Paper  on  Prices,  by  the  President. 
Discussions. 

Afternoon  Session. 
Opening  of  the  Question  Box. 
Pive  Minutes  Discussions. 

Thursday. 
Morning  Session, from  9  to  11  A.M. 
Beport  of  Committees. 
Papers  on  Dry-plate  Photography. 
Ten  Minutes  Discussions  on  Dry  Plates. 

Afternoon  Session. 
Niagara  Excursion. 

Friday. 
Morning  Session,  9  A.  M. 
Election  of  Officers. 
Miscellaneous  business. 

Afternoon  Session. 
Discussion  on  Prices. 
Evening  reception,  open   to   the    public 
from  6  to  11  p.  m. 

Saturday. 
Morning  Session. 
Closing  Ceremonies. 

Resolved,  That  a  copy  of  this  report  be 
sent  to  each  of  the  different  photographic 
publishers  simultaneously. 
Adjourned. 

Joshua  Smith, 

Secretary. 

REVIEW  OF  PHOTOGRAPHS  IN 
PHILADELPHIA  PHOTOG- 
RAPHER FOR  1884. 

(January,  February,  March,  April, 
May,  and  June.) 

BY   CHARLOTTE    ADAMS. 

Modern  photography,  in  its  artistic 
aspect,  may  be  resolved  into  two  elements, 
the  subjective  and  the  objective.  In  deal- 
ing with  the  human  subject,  subjective 
photography  gives  us  the  physical  charac- 


teristics with  all  due  completeness,  but  it 
gives  something  more — namely,  the  mind, 
brain,  heart,  and  soul  of  the  individual.  It 
concentrates  them  all  in  the  simple  external 
rendering  of  form,  and  makes  of  the  fleshy 
envelope  a  medium  for  the  translation  of 
the  intellectual  and  spiritual  side  of  the 
subject  upon  the  photographic  negative. 
This  quality  of  subjectivity  may  be  coex- 
istent with  the  most  realistic  treatment  of 
the  human  subject,  but  it  subordinates 
matter  to  mind,  and  never  allows  the  balance 
of  proper  relation  between  expression  and 
the  idea  expressed,  to  be  altered  by  so  much 
as  the  turning  of  a  hair. 

Objective  photography,  on  the  other 
hand,  is  chiefly  concerned  with  the  decora- 
tive and  pictorial  aspects  of  the  subject.  It 
treats  humanity,  landscape,  or  still-life  in 
the  same  unimpassioned  manner,  and  from 
the  same  standpoint  of  purely  external 
availability.  The  judicious  balance  of  two 
lines,  the  nice  adjustment  of  relative  curves, 
are  of  more  importance  in  the  scheme  of 
objective  photography  than  any  higher  sen- 
timent or  significance  in  humanity  or  in 
nature.  Decorative  photography  is  gener- 
ally purely  objective.  The  photography 
that  aims  at  pictorial  composition  and  effect 
seldom  does  more  than  transfer  outward 
forms  to  the  plate.  This  kind  of  work,  is, 
at  its  best,  remarkable  for  exquisite  me- 
chanical execution  and  keen  appreciation  of 
the  value  of  artistic  principles,  but  of  that 
rare  artistic  quality,  which  is  higher  than 
mere  principles,  it  shows  no  comprehension. 
Any  one  possessing  a  fair  understanding  of 
the  intellectual  and  artistic  application  of 
the  terms  objective  and  subjective,  can  find 
in  every  photographer's  window  excellent 
illustrations  of  one  kind  of  photography  or 
the  other,  and  possibly  of  both.  On  these 
two  broad  general  distinctions  rest  the 
higher  artistic  claims  of  all  photography. 

Admirable  examples  of  subjective  and 
objective  photography  are  offered  by  the 
illustrations  in  the  Philadelphia  Photog- 
rapher for  January  and  February,  1884. 
In  the  January  number,  we  have  a  full-page 
head  and  shoulders  of  a  distinguished-look- 
ing man  with  white  hair  and  moustache. 
This  plate  is  a  superb  piece  of  subjective 
photography,   in   which   the   method    em- 


56 


THE  PHILADELPHIA  PHOTOGKAPHEK. 


ployed  is,  however,  purely  realistic.  It  is 
also  valuable  as  a  specimen  of  American 
portrait-photography. 

First  of  all,  may  be  noticed  the  noble 
simplicity  of  treatment.  No  accessories  or 
theatrical  methods  of  lighting  or  posing  are 
employed.  Unfortunately,  the  unity  of  the 
composition  is  marred  by  the  white  spot  at 
the  left  and  the  darker  patch  at  the  right- 
hand  corner.  These  spots  do  not  explain 
themselves.  They  are  possibly  part  of  a 
chair,  but  there  is  no  excuse  for  their  exist- 
ence. They  represent  nothing,  they  mean 
nothing,  and  the  only  ground  for  their 
being  where  they  are  is  the  supposition  that 
the  photographer  intended  them  to  carry  out 
the  whites  and  the  half-tones  of  the  head, 
according  to  the  principles  of  decorative 
composition.  Herein,  he  made  a  mistake. 
Such  fine,  intelligent  work  as  is  shown  in 
this  head  could  have  dispensed  with  ordi- 
nary pictorial  requirements. 

The  constructive  element  of  this  head  is 
remarkable  for  its  vigor.  The  osseous  effect 
of  the  skull  is  rendered  with  masterly  firm- 
ness. The  modelling  of  the  face,  with  its 
strong,  healthy  tissues  gathered  in  fine  cor- 
rugations, merits  great  praise.  The  repro- 
duction of  the  white  hair  and  moustache, 
so  delicate  that  one  can  almost  count  the 
hairs,  shows  how  successfully  details  may  be 
treated  by  a  skilled  photographer,  without 
interfering  with  the  breadth  of  impression 
so  desirable  in  an  artistic  photograph.  The 
precise,  sharp,  clear-cut  effect  of  the  en- 
semble and  of  the  details  of  this  head  can- 
not be  too  highly  commended.  The  flesh- 
texture  is  given  with  truth  and  exactness. 
No  attempt  has  been  made  to  soften  the 
ruggedness  of  the  skin.  Had  it  been  re- 
touched away,  half  the  value,  subjective  or 
realistic,  of  the  plate  would  have  been  lost. 
As  regards  judicious  balance  of  masses  of 
light  and  dark,  that  primary  contingent  of 
photographic  artistic  success,  nothing  could 
be  more  desirable  than  the  relative  delicate 
whites  of  hair  and  moustache,  and  the  posi- 
tive white  of  the  collar  seen  against  the 
different  darks  of  the  face  and  neck  and 
above  the  dark  space  of  the  coat.  The 
tones  of  the  face  and  neck  are  beautifully 
graded.  One  of  the  strong  points  of  this 
plate  is  the  admirable  management  of  the 


lighting  which  focusses  the  light  full  on  the 
white  head.  The  manner  in  which  the 
head  and  the  background  are  harmonized 
and  balanced,  without  undue  abruptness  or 
sharpness  of  contrast,  is  very  creditable  to 
the  artistic  instincts  of  the  photographer. 
This  head  is  a  fine  piece  of  photographic 
impressionism.  Here  we  have  not  only  the 
external  representation  of  the  man,  but  the 
man  himself  as  he  actually  is.  There  is  no 
idealizing  process  visible  in  this  plate.  The 
subject  has  been  placed  fairly  and  frankly 
before  us,  and  it  is  for  us  to  see  and  recog- 
nize the  inner  and  higher  man,  the  man  of 
the  heart  and  brain,  as  well  as  the  man  of 
flesh  and  blood.  In  tone  and  color  this 
plate  is  also  satisfactory. 

The  individuality  of  the  photographer 
betrays  itself  in  his  choice  of  method  as  in 
his  treatment  of  subjects.  To  produce  a 
plate  like  this  portrait,  demands  a  high 
order  of  photographic  intelligence  and 
general  mental  and  artistic  cultivation. 
Such  work  as  this  means  photographic  art 
with  an  added  literary  quality. 

The  objective  school  of  photography  finds 
an  admirable  exponent  in  the  four  reduced 
plates  forming  the  full-page  frontispiece  of 
the  February  number.  We  are  here  shown 
work  that  is  delicately  and  exquisitely  ar- 
tistic. It  is  ideal  in  intention  and  effect. 
But  it  deals  only  with  the  external  qualities 
of  the  subject.  The  plate  gives  us  two  of 
the  beauties  of  the  American  stage,  Miss 
Lilian  Kussell  and  Miss  Mary  Anderson. 
They  are  not,  however,  presented  to  us  as 
women,  but  as  beautiful  human  decorations, 
stage  pictures  by  a  masterhand. 

These  plates  belong  to  a  school  of  photog- 
raphy which  will  always  be  popular,  because 
it  appeals  to  an  audience  which  demands 
idealism,  refinement,  and  a  certain  dainty 
sensuousness  in  art.  One  might  call  it  the 
Christmas  card  school  of  photography.  In 
these  portraits  of  Miss  Anderson,  we  do  not 
find  Mary  Anderson  the  genius,  the  woman 
of  exceptional  character  and  independence. 
"We  find  only  a  beautiful  piece  of  plastique, 
an  exquisite  lay-figure,  an  artist's  model. 
Miss  Anderson  is  a  subject  from  whom  an 
intelligent,  subjective  photographer  could 
evolve  new  and  unexpected  results.    But  in 


THE   PHILADELPHIA    PHOTOGEAPHEE. 


57 


the  portraits  under  consideration  we  find 
simply  a  charming  objectivity. 

The  first  plate  is  a  half-length  of  Miss 
Kussell,  dressed  in  a  white  gown  with  a 
large  quaint  white  bonnet.  Two  braids  of 
fair  hair  hang  down  her  back.  Her  profile 
is  seen  rather  dark  against  a  white  back- 
ground. This  plate  might  be  termed  a 
photographic  study  in  whites.  It  is  pitched 
in  a  very  light  key,  the  face  and  hair  form- 
ing the  darks  of  the  scheme.  The  render- 
ing of  the  texture  of  the  hair  is  excellent. 
The  treatment  is  very  simple,  and  har- 
monizes well  with  the  ingeniousness  of 
costume,  face,  and  pose.  This  plate  is  a 
photographic  idyl,  and  a  lovely  bit  of  deco- 
ration. The  decorative  quality  is  strongly 
felt  in  all  these  photographs. 

The  next  one  at  the  top  represents  Miss 
Mary  Anderson  in  a  rich  bodice,  with  a 
wide  standing  lace  collar  about  her  beautiful 
shoulders  leaving  her  throat  and  neck  bare. 
This  plate  is  especially  noticeable  for  subtle 
effects  of  light  and  shade.  The  figure  is 
seen  more  than  half  in  light.  It  is  lighted 
from  the  left  side,  and  the  shadows  are 
gracefully  graded  until  the  right  side  of  the 
head  and  body  is  seen  in  delicate  half-tones. 
The  background  is  dead-black.  This  ar- 
rangement of  blajk  and  white  in  a  sliding 
scale  of  tone  is  of  a  piece  with  the  extreme 
cleverness  of  the  whole  plate.  The  hair  is 
skilfully  treated,  though  with  an  eye  to 
stage  effect  rather  than  truth  to  nature. 

In  the  third  plate,  which  represents  Miss 
Anderson  as  Galatea,  we  have  about  as 
skilful  a  piece  of  technique  as  purely  plastic 
photography  can  show.  The  pose  of  the 
figure  is  admirable.  The  long  lines  of  the 
back,  from  the  neck  to  the  knee,  the  beau- 
tiful curve  of  the  shoulder,  are  a  delight  to 
the  eye.  The  lighting  is  not  only  remark- 
ably good  in  itself,  but  it  is  what  gives  to 
the  figure  the  statuesque  character  that  it 
possesses.  The  balance  of  light  and  shade 
produced  by  the  method  of  lighting  is  very 
like  that  seen  on  antique  casts  in  museums 
and  art  schools.  The  effect  of  relief  and 
roundness  visible  on  marble  and  plaster 
figures  is  singularly  well  suggested  in  this 
photograph.  The  small  crimped  folds  of 
the  drapery  are  rendered  with  an  accuracy 
that  is  far  from  being  merely  mechanical. 


The  modelling  of  the  figure  is  not  that  of 
human  flesh  and  blood,  but  of  marble  or 
plaster.  The  artistic  and  technical  knowl- 
edge required  to  produce  this  quality  of 
effect  is  of  the  highest  order. 

This  plate  gains  much  from  the  manner  in 
which  it  is  accented.  In  the  foreground  we 
have  a  sharp  black  shadow  which  throws  the 
space  of  light  formed  by  the  steps  into  un- 
modified prominence.  Beyond  the  steps  is 
another  black  shadow  which  divides  them 
from  the  figure  thus  forced  into  relief.  The 
half-tones  of  shadow  at  the  back  of  the 
figure  serve  the  purpose  of  concentrating  the 
artistic  interest  on  the  beautifully  moulded 
shoulder,  which  one  feels  instinctively  to  be 
the  leading  idea  of  the  composition.  The 
background  is  judiciously  kept  midway  be- 
tween the  lights  and  darks  of  the  rest  of  the 
plate,  and  consequently  lends  to  it  an  effect 
of  delicate  unity  and  symmetry  which  could 
be  easily  destroyed  by  the  employment  of  a 
stronger  or  more  abrupt  contrast  of  tone. 

The  photograph  of  Miss  Anderson  is 
pitched  in  a  lighter  key,  and  is  much  less 
complex  in  conception  and  treatment.  The 
accents  are  very  happily  placed.  They  are 
formed  by  the  beautifully  poised  head  and 
by  the  dark  space  under  the  foot.  They 
balance  admirably  and  whether  they  exist 
by  intention  or  accident  are  highly  desirable 
as  artistic  components.  This  is  a  plate  more 
than  ordinarily  noticeable  for  artistic  quality 
of  the  decorative  order.  The  face  and  part 
of  the  throat  are  kept  in  shadow  in  order 
that  the  darks  of  the  hair  may  not  be  too 
obtrusive,  and  may  be  gradually  merged  in 
the  full  light  of  the  dazzling  white  neck  and 
drapery.  The  profile  appears  to  greater  ad- 
vantage through  this  arrangement  of  tone 
being  seen  in  crisp  and  sharp  relief  against 
a  background  rather  light  than  dark.  The 
subtle  luminosity  of  this  background  adds 
greatly  to  the  artistic  value  of  the  photo- 
graph. The  draperies  are  very  well  handled, 
and  if  the  folds  and  lines  are  not  developed 
with  the  precision  and  accuracy  seen  in  the 
other  plate,  one  feels  that  the  change  in 
method  is  intentional.  The  photographer 
has  aimed  at  breadth  of  treatment.  The 
operator  who  could  so  skilfully  treat  a  head, 
as  in  this  instance,  carrying  it  out  in  detail, 
giving  every  individual  roll  and  curl  due 


58 


THE    PHILADELPHIA    PHOTOGEAPHEH. 


attention,  while  keeping  the  whole  suffici- 
ently broad,  and  rendering  the  firm,  bony- 
feeling  of  the  skull  as  few  painters  could  do, 
was  not  the  workman  to  slur  over  the  lines 
and  forms  of  the  drapery  from  carelessness 
or  accident.  If  he  has  not  worked  it  up  in 
detail,  it  was  because  he  had  good  artistic 
reasons  for  not  doing  so.  He  has  made  us 
feel  the  figure  through  the  folds  of  the  gar- 
ment, which  he  rightly  considers  an  acces- 
sory. He  has  handled  the  drapery  impres- 
sionistically,  knowing  that  so  large  a  mass 
of  white,  full  of  long  curves  and  lines,  re- 
quired heroic  treatment,  and  that  attention 
to  detail  or  the  sharpness  of  line  and  con- 
trast, which  is  apt  to  give  a  belittling  effect, 
would  be  out  of  place  in  this  noble  scheme 
of  drapery.  The  photographer  has  here 
followed  the  method  pursued  by  modern 
impressionistic  portrait-painters,  who  carry 
out  the  head  much  farther  than  the  rest  of 
the  figure. 

Here  we  have  a  conspicuous  instance  of 
the  value  of  a  knowledge  of  art-principles 
to  the  photographer.  All  four  plates  show 
the  influence  of  modern  French  art  in  con- 
ception, treatment,  general  style,  and  in 
their  appreciation  of  outward  forms  for  out- 
ward form's  sake,  which  so  many  painters 
are  apt  to  miscall  art  for  art's  sake.  Some- 
thing more  than  approximate  perfection  of 
technique  or  even  the  highest  appreciation 
of  the  external  possibilities  of  a  subject  is 
required  to  make  an  artist,  be  he  painter  or 
photographer,  but  those  qualifications  may 
be  regarded  as  forming  his  equipment  for  the 
journey  towards  his  goal.  Persons  who  are 
interested  in  the  development  of  the  plastic 
side  of  photography  cannot  do  better  than 
study  carefully  these  two  statuesque  figures 
of  Miss  Anderson.  In  one,  we  have  the 
subject  subordinated  to  the  scientific  interest 
of  the  treatment,  and  we  realize  at  a  glance 
that  the  tour  de  force  was  of  more  impor- 
tance to  the  operator  than  the  object  upon 
which  it  was  exercised.  In  the  other,  the 
method  is  forgotten  in  the  absolute  beauty 
of  the  subject,  and  we  feel  at  once  that  it 
exists  only  to  the  end  of  setting  before  us 
this  lovely  piece  of  living  plastique. 

In  the  Photographer  for  March  is 
offered  a  full-page  plate  entitled  "A  Nubian 
Landscape,"  which  unites  the  subjective  and 


objective  elements  of  photography.  An  ad- 
mirable rendering  of  the  external  features  of 
the  landscape  is  combined  with  a  translation 
upon  the  plate  of  the  inner  spirit  and  sig- 
nificance of  the  scene.  We  have,  first  of 
all,  an  excellent  impression,  treated  in  a 
broad  free  manner,  of  a  subject  full  of  com- 
plex detail  and  suggestion.  To  appreciate 
fully  the  truth  and  unity  of  this  impression, 
the  spectator  should  half-close  his  eyes  and 
look  steadfastly  at  the  photograph.  In  this 
way  the  details  of  the  landscape  disappear, 
and  the  composition  resolves  itself  into 
broad  masses  of  light  and  dark.  The  salient 
features  of  the  landscape  are  preserved  and 
fall  readily  into  their  relative  positions. 
This  is  a  very  skilful  piece  of  composition, 
technically  and  artistically.  Light  and 
shade  are  here  evenly  distributed  and  bal- 
anced with  perfect  judiciousness.  As  an 
example  of  brilliant,  strong,  sunlight-pho- 
tography this  plate  cannot  be  too  highly 
praised,  and  no  portion  better  illustrates  the 
skill  of  the  operator  in  this  respect  than  the 
large,  ruined  temple.  Good  effects  of  sun- 
light and  shadow  are  visible  in  the  mass  of 
low  ruins  in  the  middle  of  the  composition. 
A  capital  effect  is  offered  by  the  small  frag- 
ment of  a  temple  at  the  left,  with  its  white 
walls  and  columns  and  its  dense  black 
shadows,  full  of  depth  and  suggestion, 
sharply  contrasted  with  the  sunlit  architect- 
ure, and  repeated  in  effect  by  the  dark  mass 
of  feathery  palms  rising  above  the  ruin. 
This  is  a  striking  bit  of  artistic  composition. 
Notice  the  decorative  effect  and  value  of  the 
feathery  palms,  which  add  the  crowning 
touch  to  the  group  of  lines  and  masses  to 
which  they  belong,  break  the  monotony  of 
the  long  stretch  of  the  river,  and  form  an 
important  accent  in  the  composition  as  a 
whole,  as  well  as  a  beautiful  arrangement  of 
curves  in  themselves.  They  come  sharply 
against  the  mass  of  dead  white  formed  by 
the  steamboat  or  yacht  moored  at  the  oppo- 
site bank  of  the  river,  producing  a  singularly 
artistic  effect.  This  group  of  palms  may 
also  be  taken  as  a  mass  of  dark  separating 
two  masses  of  light,  namely,  the  boat  and 
the  ruins  at  the  left  of  the  foreground. 

Peculiarly  noticeable  in  this  composition 
is  the  horizontal  division  of  light  and  shade 
beginning  in  the  middle  distance  with  the 


THE  PHILADELPHIA  PHOTOGKAPHEK. 


59 


long  half-tone  sweep  of  the  river.  Parallel 
with  this  runs  the  line  of  the  hank,  a  trifle 
darker  than  the  river  and  agreeably  relieved 
by  the  white  mass  of  the  boat.  Then  comes 
the  long  line  of  darks  formed  by  a  grove  of 
palms,  excellent  in  technical  rendering,  both 
as  to  impression  and  detail.  Above  this 
extends  the  long  slope  of  the  hills,  full  in 
sunlight  and  yet  so  skilfully  treated  as  to  be 
subordinated  in  the  matter  of  light  to  the 
stronger  lights  in  the  foreground,  in  which 
the  artistic  interest  is  focussed.  One  pecu- 
liarity of  this  composition  is  the  almost  ex- 
clusive employment  of  angles  and  horizontal 
and  vertical  lines  visible  in  it.  The  only 
curves  are  those  of  the  palms,  and  of  the 
capitals  of  the  columns.  Whether  this  be 
the  merit  of  nature,  of  Egyptian  art,  or  of 
American  photographic  skill,  it  is  equally 
striking  and  artistically  admirable.  The 
lines  of  the  architecture  exactly  repeat  the 
lines  of  the  natural  objects.  Going  back  to 
the  work  as  an  impression,  let  us  notice  the 
advantageous  manner  in  which  the  right  of 
the  foreground  is  kept  in  strong  shadow,  in 
order  to  force  the  ruins,  especially  the  large 
temple,  into  greater  prominence.  This  plate 
shows  beautiful  work  in  the  minor  details  of 
the  architecture  and  natural  objects.  A 
quality  of  what  might  be  called  realization 
is  another  of  its  merits.  One  can  imagine 
that  one  is  gazing  at  the  actual  scene,  and 
not  at  a  mere  photographic  representation  of 
it.  This  quality  is  rarely  present  even  in 
good  photographic  work.  The  sentiment 
and  spirit  of  ancient  and  modern  Egypt  are 
here  evolved  from  the  material  objects  before 
the  camera  and  imprisoned  upon  the  plate 
in  a  manner  which  has  hitherto  been  con- 
sidered the  prerogative  of  creative  art  alone. 
The  opinion  widely  prevails  that  photog- 
raphy can  only  act  within  certain  limits, 
that  the  external  features  of  a  landscape 
may  be  correctly  rendered  by  the  photo- 
graphic process,  but  that  its  higher  signifi- 
cance, its  sentiment  and  feeling  cannot  be 
reproduced  or  suggested  by  so  mechanical  a 
method.  This  is  a  mistaken  idea.  A  photo- 
graph may  possess  the  creative  quality  in  as 
high  a  degree  as  an  oil  or  water-color  picture. 
It  is  the  brain  behind  the  camera  that  calls 
from  its  slumbers  the  soul  of  the  landscape. 
There  are  many  so-called  "pictures"  that 


completely  lack  the  creative  quality  and 
there  are  many  photographs  in  which  it 
forms  an  important  element.  "Whatever  be 
the  medium  employed,  the  artistic  spirit  will 
always  assert  itself  emphatically. 

In  the  Photographer  for  April,  May, 
and  June,  we  have  three  plates  of  an  analo- 
gous character,  which  belong  to  an  entirely 
different  school  of  photography,  not  as 
artistic  or  scientific  as  that  just  considered, 
but  meriting  serious  attention  and  respect. 
The  worst  thing  about  the  two  plates  con- 
taining groups  of  young  people  is  their 
title.  "A  Wild  Weird  Tale,"  probably 
refers  to  the  character  of  the  story  being 
read  by  one  and  listened  to  by  the  others. 
But  there  is  nothing  visible  on  the  un- 
imaginative, undramatic,  stolid  little  Ameri- 
can countenances  to  indicate  anything  like 
wildness  or  weirdness  in  the  impressions  in 
course  of  transmission  to  their  well-regulated 
little  brains.  Putting  this  aside,  the  idea  of 
the  two  groups  is  good  enough.  In  the 
plate  accompanying  the  April  number,  we 
see  a  young  woman  seated,  reading  from  a 
book,  a  little  girl  standing  behind  her,  while 
a  small  boy  with  the  conventional,  pious, 
having-his-picture-taken  look  on  his  face  is 
posed  at  the  right. 

The  photographer  has,  in  this  group,  given 
us,  faithfully  and  unconsciously,  three  rep- 
resentative American  types.  Photography 
is  sometimes  an  important  factor  in  the  study 
of  ethnology.  This  group  perfectly  repre- 
sents the  domestic  life  of  the  average  respect- 
able American  family.  It  might  be  called 
an  example  of  American  photographic  im- 
pressionism, using  the  word  in  a  literary 
sense.  Artists  and  critics  who  insist  upon 
the  value  of  American  realistic  subjects,  in 
building  up  a  school  of  national  art,  would 
do  well  to  turn  their  attention  to  photo- 
graphs like  this  which  may  be  seen  at  every 
turn,  and  which  reflect  so  absolutely  the 
every-day  life  of  the  country. 

Such  work  as  this  must  be  judged  by  itself, 
and  not  according  to  arbitrary  standards. 
In  one  sense  it  is  far  from  artistic,  in 
another  it  is  artistic  in  the  highest  degree, 
and  it  requires  the  greatest  artistic  cultiva- 
tion to  appreciate  it  properly.  The  mind 
that  can  find  pure  pleasure  in  the  study  of 
Manet  and  Degas,  can  realize  the  value  of 


60 


THE    PHILADELPHIA    PHOTOGrEAPHEE. 


such  apparently  inartistic  ideas  as  are  em- 
bodied in  this  photograph.  Technically,  it 
is  rather  above  the  average.  The  pyramidal 
composition  is  rather  an  original  idea,  and 
artistically  admissible.  The  head  of  the 
little  girl  in  the  middle  forms  the  apex  of 
the  pyramid.  The  faces  are  good  in  the 
modelling,  and  the  hands  are  well  rendered, 
although  a  little  obtrusively.  In  fact,  there 
are  too  many  hands  in  the  composition. 
The  four  hands  in  the  foreground  are  almost 
on  a  line,  and  the  dark  hand  seen  against 
the  white  dress-texture  impresses  one  rather 
unpleasantly.  Things  which  may  be  good 
in  themselves  are  not  always  relatively 
good.  The  modern  mind  perceives  the 
fallacy  of  the  conventional  statement  that 
truth  is  absolute.  Truth  and  particularly 
artistic  truth,  is  relative.  The  white  jacket 
of  the  older  girl  and  the  white  frock  of  the 
younger  are  sharply  contrasted  with  the 
dark  clothes  of  the  boy.  The  tone,  half- 
way between  light  and  dark,  of  the  older 
girl's  skirt,  is  balanced  by  the  space  of  back- 
ground in  semi-tones.  The  dark  book  at  the 
left  repeats  the  darks  of  the  boy's  figure  and 
rounds  off  the  composition  harmoniously. 
The  texture-rendering  is  sufficiently  good. 
Altogether  this  is  a  work  which  reflects  con- 
siderable credit  on  the  photographer. 

The  group  of  children  seen  in  the  frontis- 
piece of  the  May  number,  repeats  in  concep- 
tion the  story-book  idea,  and  in  composi- 
tion the  pyramidal.  In  the  conventional 
artistic  sense,  it  is  a  better  piece  of  work, 
although  the  figures  have  much  less  indi- 
viduality, and  are  by  no  means  as  charac- 
teristically American.  We  have  here  also 
very  judicious  distribution  of  masses  of  light 
and  dark.  The  principal  white  mass  is  the 
frock  of  the  child  on  the  right.  It  is  re- 
peated and  well  balanced  by  the  white  of 
the  children's  cravats,  collars,  and  cuffs,  as 
well  as  the  interior  of  the  book.  The  dark 
cover  of  the  book  composes  very  well  with 
the  two  masses  of  white  formed  by  the  page 
and  the  boy's  cuff.  The  darks  of  the  com- 
position centre  in  the  boy's  figure,  and  about 
the  chair.  The  carpet,  with  its  small  accents 
and  general  effect  of  half-tones,  repeats  very 
justifiably  the  space  of  wall  above  the  chil- 
dren's heads,  and  also  the  corner  of  the  chair 
at  the  boy's  shoulder,  the  balustrade  at  the 


right  and  the  gown  of  the  children's  mother 
or  attendant  seen  at  the  right.  The  intro- 
duction of  this  fragment  of  a  feminine  per- 
son is  rather  a  novel  idea.  It  lends  sugges- 
tiveness  to  the  composition,  and  gives  an  air 
of  domesticity  and  naturalness  to  the  group 
of  children.  The  little  faces  are  pleasingly 
treated,  all  the  unformed  plumpness  and 
naivete  of  expression  peculiar  to  children, 
being  rendered  sympathetically.  The  hair, 
with  all  three  heads,  is  well  given  and  im- 
presses one  at  first  sight,  though  without  ob- 
trusiveness.  It  is  particularly  good  in  tone 
and  in  effect  of  reflected  light.  The  texture- 
rendering  is  excellent  throughout  the  com- 
position. The  velvet  of  the  boy's  coat,  the 
laces,  the  delicate  white  muslin  of  the  child's 
frock  is  especially  noticeable  in  this  respect. 
In  the  foreground,  the  woodwork  of  the 
chair  and  the  boy's  boots  shine  altogether 
too  much,  and  detract  from  the  unity  of  the 
composition.  The  interest  of  the  spectator 
should  be  centred  on  the  children's  heads. 
In  a  photograph,  as  in  a  picture,  accessories 
should  never  be  allowed  to  overweight  prin- 
cipals. Surfaces  strongly  reflecting  light 
are  often  difficult  to  handle  in  themselves, 
and  are  especially  so  relatively  to  other  sur- 
faces. In  this  photograph  the  hands  are 
more  skilfully  treated  than  in  the  other. 
They  are  smaller  to  begin  with,  which  is,  of 
course,  an  advantage.  They  are  in  better 
photographic  proportion,  and  are  better 
composed.  The  boy's  hands  are  only  vaguely 
suggested,  and  the  four  hands  of  the  smaller 
children  are  gracefully  disposed.  The  atti- 
tudes of  these  three  figures  are  easy  and 
natural. 

The  most  noticeable  thing  about  the  pho- 
tograph in  the  June  number,  which  shows 
a  three-quarter  length  of  a  child,  is  the  ad- 
mirable work  in  the  textures.  At  a  glance 
we  receive  the  impression  that  the  photog- 
rapher cared  more  about  the  child's  clothes 
than  he  did  about  the  child.  Here  again, 
we  have  an  extreme  example  of  objective 
photography.  The  moral  and  intellectual 
qualities,  even  the  ordinary  child-nature  of 
the  youthful  subject,  are  subordinated  to  the 
skilful  representation  of  its  externals  of 
dress  and*  feature.  The  little  face  is  suffici- 
ently well  modelled,  the  hair  delicately  and 
effectively  handled.     The  reflected  light  of 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


61 


satin  could  scarcely  be  better  given  tban 
here.  The  dark  velvet  preserves  all  the 
richness  and  quality  of  light-absorption  of 
the  fabric  itself.  Every  mesh  of  the  lace 
collar  is  given  with  remarkable  precision. 
No  fault  can  be  found  with  the  technical 
side  of  this  figure,  but  it  lacks  the  artistic 
quality.  The  drapery  at  the  left  does  not 
explain  itself.  One  cannot  tell  whether  it 
is  intended  for  a  shawl,  a  table-cover,  a  por- 
tiere, or  a  sofa  cushion.  Then  again,  it  is 
broken  up  into  small  masses  of  light,  dark, 
and  medium  tones  which  belittle  the  com- 
position, especially  when  taken  in  connection 
with  the  broken  masses  formed  by  the  book 
on  which  the  child's  hands  rest.  These 
hands  are  the  best  things  in  the  photograph, 
artistically.  They  are  human,  expressive, 
lifelike,  and  well  modelled.  The  book-idea 
is  a  good  one,  but  it  is  not  well  applied  in 
this  instance.  Besides  the  unexplained 
broken  effect  of  the  cover,  the  full-page  illus- 
tration of  a  Savoyard  with  a  marmot  on  his 
shoulder  takes  off  from  the  attention  which 
should  properly  be  concentrated  on  the  head 
and  hands.  The  projecting  sofa  corner  with 
its  obtrusive  brass  nails  is  not  the  most  grace- 
ful thing  in  the  world.  In  this  photograph, 
we  have  a  case  where  the  head  and  hands 
are  equally  important,  without  producing  an 
effect  of  obtrusiveness  as  regards  the  latter. 
It  is,  of  course,  much  easier  to  dispose  of 
two  hands  than  of  four  or  six,  but  in  any 
case  much  depends  upon  the  science  of  the 
photographer. 

The  problem  of  hands  is  one  that  troubles 
not  only  photographers  but  artists.  It  is  a 
well-known  fact  that  there  are  few  American 
artists  whose  treatment  of  hands  is  entirely 
satisfactory.  There  prevails  great  diversity 
of  opinion  as  to  the  treatment  of  hands  in 
portraiture  or  general  composition.  Some 
artists  simply  block  them  in,  and  indicate 
them  as  accessories  ;  others  finish  them  con- 
ventionally. Others  again  treat  them  realis- 
tically, and  throw  into  them  all  the  indi- 
viduality of  the  subject.  In  any  case  hands 
are  difficult  things  to  manage,  and  it  is  not 
to  be  wondered  at  that  photographers  some- 
times fail  to  give  them  their  due  significance 
or  to  dispose  of  them  to  the  best  technical 
advantage.  It  is  a  good  plan  to  follow 
nature  as  closely  as  possible,  but  where  six 


little  dingy  hands  appear  in  a  row,  that  pho- 
tographer may  be  pardoned  who  gently  but 
firmly  suppresses  half  of  them,  and  ignores 
nature  to  assist  art. 

{To  be  continued.) 


GERMAN  CORRESPONDENCE. 

Photography  in  Germany — The  Photogra- 
pher and  his  Patrons — Art  and  Business 
— Study  of  Art  for  Photographic  Pupils. 

Not  long  since  a  photographer  com- 
plained to  me  of  the  ill-humor  of  the  pub- 
lic, coupling  with  his  complaint  the  remark 
that  nowhere  else  but  in  a  photograph 
gallery  were  people  so  disagreeable.  There, 
especially,  is  that  peculiar  weakness  of  the 
race,  personal  vanity,  manifested. 

As  soon  as  the  public  is  aware  that  the 
photographer  has  not  the  necessary  inde- 
pendence of  character,  not  knowing  him- 
self what  he  desires,  it  at  once  takes  ad- 
vantage of  his  weakness.  The  artist  must 
make  it  evident  that  he,  at  least  in  his  own 
domain,  is  lord  paramount,  and  that  his 
ideas  in  matters  of  art  are  superior  to  theirs. 
I  know  a  very  pretty  miss  who  was  told  by 
an  ardent  admirer  that  she  resembled  the 
world-wide  known  beauty,  Mrs.  Langtry. 
At  once  she  possessed  herself  of  the  photo- 
graph of  this  fair  Briton,  and  demanded 
to  be  photographed  in  a  similar  pose.  The 
obliging  photographer  did  what  was  asked 
of  him,  but  alas!  no  Mrs.  Langtry.  Much 
vexed,  she  sought  a  second  time  to  realize 
her  ambition,  and  even  a  third,  but  always 
with  the  same  result.  At  last  she  was  told 
to  go  to  the  celebrated  Mr.  X.  He  at 
once  comprehended  the  situation  of  affairs, 
and  declared  that  he  would  not  take  her 
in  a  pose  similar  to  Mrs.  Langtry.  "Why 
not?"  asked  the  fair  damsel.  He  gal- 
lantly replied,  "  Simply  because  you  are 
much  fairer  than  the  latter,  and  I  would 
consider  it  much  more  in  accordance  with 
gogd  taste  should  Mrs.  Langtry  apply  to 
me  to  be  photographed  like  yourself."  Ah ! 
that  was  the  right  string  to  pull.  The  lady 
felt  herself  so  much  flattered  that  she  could 
not  gainsay  his  argument,  and  in  all  pa- 
tience allowed  herself  to  be  posed  in  a 
manner  that  did  not  necessitate  the  slightest 
approach  to  Mrs.  Langtry.     The  photogra- 


62 


THE    PHILADELPHIA    PHOTOGrBAPHEK. 


pher  succeeded  by  his  tact ;  the  picture  was 
a  success,  and  the  lady  was  pleased  and  at 
the  same  time  cured.  But  the  photogra- 
pher is  not  always  so  fortunate  in  the  dispo- 
sition of  such  matters.  I  know  of  many 
instances  of  happy  mothers  who,  accom- 
panied by  two  or  three  babies,  from  three  to 
five  years  old,  have  desired  to  be  taken  a  la 
Kaphael,  with  their  squirming  wriggling 
pieces  of  humanity — let  me  be  explicit — 
yes,  naked,  and  in  the  exact  position  of  the 
two  cherubs,  at  the  feet  of  the  Madonna,  in 
the  Sistine  Chapel  at  Eome,  if  possible, 
even  with  wings.  This  idea  is  widespread. 
I  have  seen  pictures  of  the  kind  in  the  new 
as  well  as  the  old  world.  Such  a  mother 
once  came  to  one  of  my  acquaintances,  ac- 
companied by  two  of  her  little  cherubs,  and 
made  known  her  desire  to  be  photographed 
as  Madonna.  The  artist  replied  that  the 
thing  was  impossible.  "Allow  me,  madam, 
to  show  you.  Here  is  an  engraving  of  the 
Madonna.  I  acknowledge  your  children 
are  indeed  charming,  but  they  have  not  such 
marvellous  bodies  as  the  cherubs  of  Ra- 
phael have,  such  full  swelling  bosoms,  such 
round  and  fleshy  arms  and  hands,  and  how 
am  I  to  secure,  at  the  moment  the  exposure 
is  made,  that  celestial  expression  upon  their 
countenance  which  you  here  see  upon  the 
face  of  Raphael's  children."  This  was  too 
much  for  the  vanity  of  the  fond  mother, 
who  naturally  considered  her  babies  far 
more  beautiful  than  the  chubby  boys  of  the 
Prince  of  Painters.  In  haste  she  departed, 
and  betook  herself  to  another  photogra- 
pher, who  satisfied  her  lofty  ambition.  I 
know  the  picture  well.  It  is  terrible.  Oh, 
those  bony  arms  and  the  collapsed  bosoms. 
One  of  them,  true  to  the  ideal,  has  his  eyes 
directed  towards  heaven,  but  alas,  not  with 
that  serene  and  beautiful  expression,  but  as 
if  the  poor  creature  was  eagerly  imploring 
some  divine  power  to  put  some  clothing 
upon  its  meagre,"shivering  body.  Indeed, 
it  would  be  a  merciful  dispensation  to  clothe 
such  bodies,  and  hide  tht-ir  glaring  imper- 
fections. But  the  picture  hangs  in  the 
show-case,  and,  as  I  hear,  it  has  been  as  a 
bait  with  which  the  photographer  has  suc- 
cessfully angled.  Many  mothers  have  been 
caught  with  their  hopeful  offspring.  For  a 
good  remuneration  he  converts  them  into 


angels,  some  with  wings,  some  without.  It 
is  not  very  difficult  to  satisfy  the  exacting 
demands  with  single  portraits,  but  the  case 
is  worse  when  groups  are  required.  The 
photographer  may  call  to  his  aid  artistic 
arrangement,  and  dispose  of  his  figures,  but 
this  does  not  satisfy  the  individual  taste  of 
each  one  composing  the  group.  Each  mem- 
ber naturally  thinks  that  he  or  she  should 
be  the  chief  object  of  attraction.  If  this 
is  accomplished  the  picture  meets  with 
grace  and  favor,  otherwise  not.  Neverthe- 
less, the  principles  which  govern  art  must 
be  the  guides  to  direct  the  photographer. 
It  is  only  by  their  observance  that  photog- 
raphy is  elevated  above  the  position  of  a 
handicraft.  But  he  who  wishes  to  carry 
these  principle  into  operation  must  have  an 
artistic  education  himself,  and  must  inspire 
esteem  by  his  artistic  knowledge. 

But  I  am  inquired  of  from  all  sides, 
Whence  shall  I  acquire  this  artistic  knowl- 
edge and  ability  ?  I  am  told  that  schools  of 
art  for  photographers  do  not  exist,  but  I 
fear  if  they  did  exist  they  would  not  be 
patronized.  The  retoucher,  Janssen,  some 
years  ago  opened  a  school  here  for  retouch- 
ing, but  only  a  few  availed  themselves  of 
the  opportunity,  and  Jansen  died  in  the 
most  miserable  condition.  His  successor, 
Herr  Kopske,  has  been  more  fortunate,  but 
the  results  do  not  meet  my  expectations. 
I  must  conclude  threfore  that  the  artistic 
needs  of  the  younger  photographers  are 
not  very  great.  Many  may  lack  the  means 
of  study,  but  not  a  few  want  the  desire. 
Many  trades  and  occupations  engage  ap- 
prentices for  three  years,  and  pay  them  a 
salary  according  to  their  abilities,  and 
increase  as  they  advance.  By  degrees  the 
photographic  apprentice  learns  by  obser- 
vation from  his  master  and  associates. 
He  learns  glass  cleaning,  collodionizing, 
silvering,  etc.,  and  finally  posing,  lighting, 
and  retouching.  Thus  is  he  gradually  ad- 
vanced to  a  full-fledged  operator.  When 
at  the  end,  if  he  is  skilful,  he  may  make 
one  hundred  marks  a  month,  without  any 
one  asking  him  whether  he  ever  went  to  an 
art  or  retouching  school  or  not.  It  is  not 
to  be  denied  that  such  often  are  skilful  and 
practical  workers,  but  anatomy,  the  art  of 
costuming    and    draping,   perspective   and 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


63 


art  history  are  not  learned  with  these  prac- 
tical instructions,  and  the  artistic  education 
of  the  young  photographer  cannot  be  other- 
wise than  wanting  in  many  particulars.  I 
venture  the  assertion  that  opportunities  are 
not  wanting  for  securing  artistic  culture, 
hut  that  the  desire  to  take  advantage  of 
these  opportunities  is  wanting,  and  that  a 
photographic  academy,  if  it  were  to  start 
up  into  existence,  would  not  directly  alter 
the  condition  of  things.  In  America  I  have 
found  a  greater  desire  to  learn  than  here, 
perhaps  because  there,  in  consequence  of 
the  greater  competition,  the  expectations 
are  greater.  The  struggle  for  existence, 
according  to  Darwin,  perfects  the  race,  the 
imperfect  inevitably  succumbing.  Many 
help  themselves  by  self-instruction.  I  re- 
member with  much  pleasure  the  evening  of 
instruction  in  drawing  which  the  sixty  year 
old  photographer,  Petscb,  in  connection 
with  his  colleague,  Loescher,  and  several 
young  artists  held  weekly  in  his  gallery. 
Many  of  these  associates  have  since  risen 
to  fame.  I  mention  only  the  name  of  the 
sculptors  Encke  and  Schaper.  The  draw- 
ings were  made  from  life — one  taking  the 
other.  Works  of  art  and  artists  were  dis- 
cussed, and  all  profited  by  the  intercourse. 
Petsch  later  conceived  the  idea  of  establish- 
ing in  Berlin  such  an  institution  for  the 
advance  of  photography.  Unfortunately 
the  scheme  was  not  carried  into  execution. 


I  wish  we  had  more  of  such  men,  their 
example  inspires  others.  What  have  we 
to  do  with  drawing?  I  hear  many  exclaim. 
To  be  sure,  the  camera  does  the  drawing, 
but  unfortunately  it  draws  only  optically 
and  perspectively,  and  the  jndgment  of  the 
correctness  of  a  drawing  is  to  be  obtained 
only  by  one  who  is  familiar  with  the  prin- 
ciples of  drawing,  that  is,  who  understands 
it,  and  has  cultured  his  eye  and  feeling  for 
boundaries  and  lines.  How  is  the  young 
photographer  to  be  animated  to  a  study  for 
art.  It  was  hoped  that  the  establishment 
of  an  examination  for  operators  as  was  con- 
ducted in  France  would  increase  the  in- 
clination to  study,  and  there  is  no  question 
that  a  shining  diploma  has  charms  for 
young  folks,  and  helps  progress.  In  France, 
however,  the  young  people  who  applied  to 
the  examining  board  were  precious  few. 
What  are  twenty  young  people  in  com- 
parison to  six  thousand  operators. 

I  believe  that  only  when  higher  artistic 
excellence  is  demanded  by  proprietors  that 
the  inclination  to  study  will  increase.  Per- 
haps the  amateur  will  give  an  impulse  here, 
at  any  rate  it  will  necessitate  higher  abili- 
ties on  the  part  of  the  photographer  that  he 
may  overtop  the  amateur.  May  the  new 
year  bear,  in  this  respect,  good  fruit  for 
our  scholars.  Tours  truly, 

H.  W.  VOGEL. 


Our  New  Year. — Our  readers  must  not  sup- 
pose that  because  we  are  old  we  have  lost  either 
our  courage  or  enterprise  neither  must  they  sup- 
pose that  we  are  disturbed  by  the  announcement 
of  the  more  frequent  issue  of  our  contempora- 
ries— one  weekly  and  the  other  semi-monthly. 
Do  not  be  alarmed.  Remember  that  the  pub- 
lishers of  the  other  magazines  alluded  to  have 
their  reasons  for  issuing  more  frequently  than 
we,  because  of  their  interest  as  dealers  in  pho- 
tographic material.  They  undoubtedly  under- 
stand their  business  best,  and  are  the  best  people 
to  judge  when  their  special  interests  or  those  of 
their  readers  require  a  more  frequent  issue  of 


the  journal  which  they  publish.  Our  readers 
will  observe,  however,  and  agree  that  we  have 
no  other  interest  than  theirs  to  take  care  of  or 
to  eater  to.  Our  magazine  is  published  for  the 
good  of  the  practical  working  photographer,  and 
especially  for  those  who  have  to  struggle  for  a 
livelihood.  We  think  we  have  given  plenty  of 
proof  of  our  interest  in  them,  and  our  desire  to 
subserve  their  interest,  and  this  shall  be  con- 
tinued. When  we  think  the  time  has  come  for  the 
more  frequent  issue  of  the  Philadelphia  Pho- 
tographer, our  patrons  may  be  assured  they 
will  receive  it.  But  never  shall  a  more  frequent 
issue  occur  at  the  expense  of  quality,  care,  and 


64 


THE  PHILADELPHIA  PHOTOGEAPHEE. 


desire  to  minister  thoroughly  to  the  interests 
and  welfare  of  its  readers.  For  twenty-one  years 
the  Philadelphia  Photographer  has  always 
been  the  leader  in  matters  photographic,  and  it 
intends  so  to  continue.  We  ask  a  careful  read- 
ing of  the  reasons  which  we  give  on  the  third 
page  of  our  cover  for  expecting  the  interest 
and  cooperation  of  the  whole  working  fraternity 
in  our  behalf,  and  in  the  support  of  a  first-class 
photographic  journal  clipped  of  all  interests  in 
manufacturers  and  private  business  further  than 
is  necessary  for  informing  our  readers  of  what 
it  is  to  their  interest  to  know,  viz.,  where  and 
how  to  buy  the  supplies  necessary  for  the  con- 
duct of  their  business.  Having  established  our 
integrity  in  this  direction,  we  believe  that 
nothing  will  occur  that  will  prevent  us  from 
asserting  truthfully,  as  we  have  been  able  to  do 
for  many  years,  that  the  Philadelphia  Photog- 
rapher has  the  largest  circulation  of  any  Ameri- 
can magazine;  that  it  is  the  best  for  practical 
readers,  and  the  very  best  and  cheapest  method, 
all  things  considered,  which  manufacturers  can 
employ  for  making  known  their  desires  to  the 
consumers  of  their  productions.  In  this  belief 
we  go  forward  in  our  work,  promising  again 
and  again  that  no  pains  or  expense  shall  be  spared 
to  make  the  Philadelphia  Photographer  all 
that  any  practical  reader  can  desire  in  the  way 
of  a  photographic  journal. 


Dr.  G.  F.  H.  Bartlett,  of  Buffalo,  N.  Y.« 
writes:  "  I  have  just  received  Mosaics  for  1885. 
Many  thanks.  It  is  the  best  number  I  have  seen 
— brimful  of  good  points.  By  the  way,  there  is 
an  error  in  my  article,  on  page  49,  the  four- 
teenth line  from  the  bottom ;  thick  hinge  should 
be  third  hinge.  It  would  spoil  the  apparatus  to 
use  a  thick  hinge  in  the  position  where  the 
printer  has  kindly  placed  it. 

Very  truly  yours, 

G.  F.  H.  Bartlett,  M.D. 

In  connection  with  this  we  would  like  to  call 
attention  to  an  omission  in  the  formula  for  de- 
velopment, on  page  105,  No.  2,  bottom  of  page, 
given  by  Mr.  W.  H.  Rau.  It  should  read: 
Water,  10  ounces;  citric  acid,  60  grains;  sul- 
phite of  soda,  2  ounces;  carbonate  of  potash,  4 
ounces.  By  accident  the  carbonate  of  potash 
was  omitted,  without  which  the  formula  would 
be  worthless. 

In  the  notice  of  "Our  Picture,"  in  the  De- 
cember number  of  the  Philadelphia  Photog- 
rapher, for  1884,  the  whole  credit  of  the  making 
of  the  excellent  negatives  of  "Little  Wee  Wee" 
was  inadvertently  accorded  to  Messrs.  Arthur 


&  Philbrick.  The  honor  should  have  been 
equally  divided,  as  we  are  informed  by  Messrs. 
Allen  Brothers,  between  the  above  gentle- 
men and  Mr.  F.  N.  Tomlinson,  of  Detroit.  We 
are  sorry  that  Mr.  Tomlinson  was  not  mentioned 
in  connection,  but  take  this  opportunity  of  ren- 
dering honor  to  whom  honor  is  due. 

Pictures  Received. — From  Mr.  W.  0.  Lukes 
several  stereoscopic  views  of  scenery  in  the 
Rocky  Mountains,  principally  of  waterfalls  in 
which  the  character  of  the  water  is  beautifully 
rendered.  From  S.  M.  Adams,  Elgin,  111.,  a 
novel  style  of  photograph  representing  smiling 
faces  breaking  through  an  envelope,  greeting 
the  beholder  with  a  Happy  New  Year.  From 
Mr.  A.  B.  Thom,  stereoscopic  views  of  scenery 
along  the  Canadian  Pacific  Railroad.  The  sub- 
jects are  artistically  chosen,  and  the  details  of 
the  shadows  in  the  foliage  are  well  rendered. 
From  Mr.  Thomas  S.  Steele,  Hartford,  Conn.,  a 
5x8  photograph  representing  President-elect 
Cleveland,  Dr.  Ward,  and  Mr.  Steele  seated 
upon  the  porch  of  the  Derby  Prospect  House, 
Adirondacks,  N.  Y.,  taken  with  the  electric 
drop-shutter. 


Prof.  Charles  F.  Himes  has  been  suffering 
from  a  severe  attack  of  inflammatory  rheuma- 
tism for  more  than  two  months.  We  have,  in 
consequence,  been  disappointed  in  a  contribution 
to  the  Philadelphia  Photographer,  promised 
by  him,  and  he  has  been  altogether  prevented 
from  acting  as  chairman  of  the  sub-committee 
on  the  photographic  display  at  the  New  Orleans 
Exhibition,  embracing  its  history,  educational 
aspects,  and  literature.  We  are  glad  to  say  that 
he  is  now  rapidly  convalescing. 


The  Philadelphia  Photographer  for  Janu- 
ary presents  a  beautiful  set  of  nine  photographic 
compositions  by  Mr.  H.  P.  Robinson,  of  Tun- 
brige  Wells,  England.  The  originals,  of  large 
size,  are  now  on  exhibition  at  New  Orleans. 
The  copies,  though  very  small,  look  as  though 
they  were  originals,  and  are  beautifully  printed. 
The  articles  in  the  Photographer  are  of  great 
technical  interest.  There  are  good  suggestions 
for  both  amateur  and  professional  photogra- 
phers, and  reports  of  discoveries  and  inven- 
tions that  are  likely  to  be  of  use.  Dr.  Vogel's 
German  correspondence  is  particularly  rich  in 
such  reports  and  suggestions,  and  the  proceed- 
ings of  the  various  societies,  with  their  debates 
on  topics  of  interest,  make  up  a  magazine  of 
useful  information  that  no  progressive  photog- 
rapher can  afford  to  be  without. — Philadelphia 
Public  Ledger. 


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net combined.  Several  changes;  very  at- 
tractive.    Reduced  from  $50  to  $40. 

Octagon  balustrade,  No.  479,  with  bas-e. 
Reduced  from  $35  to  $30. 

We  have  in  stock  several  of  our  popular 
Venetian  cabinets  at  $50. 

Our  new  papier  mache  trees  are  selling 
rapidly. 

Lafayette  W.  Seavey, 

216  E.  Ninth  St.,  N.  Y. 


W.  F.  ASHE 

ARTISTIC   BACKGROUNDS 

AND 

ACCESSORIES, 

KEMOYED  TO  68  WEST  EOUETH  ST., 
4  Blocks  West  op  Broadway,  N.  Y. 

My  new  studio  is  fitted  up  with  all  the  mod- 
ern improvements,  and  the  most  refined  demands 
from  a  critical  public  can  be  satisfied.  A  visit 
to  my  establishment,  which  has  the  largest 
showroom,  containing  the  greatest  amount  of 
stock  of  any  place  in  the  world,  will  be  grate- 
fully appreciated. 

I  have  again  added  numerous  new  designs  to 
my  great  variety  of  patterns  for  backgrounds 
and  accessories,  and  keep  also  in  stock  a  large 
quantity  of  goods  for  parties  to  select  from, 
saving  time  and  delay  on  orders. 


R0CKW00D  SOLAR  PRINTING  CO. 

17  Union  Square,  New  York. 

TIME. — It  is  our  intention  that  every  order 
received  in  the  morning's  mail  (when  not  to  be 
put  on  stretchers)  shall  leave  this  establishment 
the  same  day  or  the  following  morning.  If  too 
late  for  the  morning  work,  it  is  sent  on  the  sec- 
ond day.  Having  our  own  engine  and  electric 
light,  we  are  not  at  all  dependent  on  the  weather. 
GEORGE  H.  ROCKWOOD, 
Business  Manager. 


VOGEL'S  PROGRESS  OF  PHOTOGRAPHY, 

LATEST— BEST— $3. 


Every  photographer  in  want  of  excellent 
lenses,  for  any  purpose,  will  best  serve  his  interest 
by  consulting  the  new  illustrated  price-list  of 
Messrs.   Benjamin  French   &  Co.    before  pur- 


SAMUEL  W.  BROWN  &  CO., 
Solar  Prints  by  the  Platinum  Process  , 


silver  printing  for  the  trade  and  amateurs. 
2805  Poplar  Street,  Philadephia. 


Address  T.  W.  Power,  N.  Y.,  Secretary  of 
Association  of  Operative  Photographers  of  New 
York  City,  for  operators,  printers,  and  re- 
touchers, 392  Bowery,  or  487  Eighth  Avenue, 


66 


THE  PHILADELPHIA  PHOTOGEAPHEE. 


No.  18. 


No.  18. 


WAYMOUTH'S 

VIGNETTE 

PAPERS, 

The  old  form  of  No.  18,  Waymouth's  Vignette 
Papers,  oval,  has  been  discarded,  and  a  new 
pear-shaped  style  is  now  ready  in  its  place.  It 
is  a  beautiful  piece  of  gradation  and  prints 
perfectly.  Price  $1.25  per  dozen.  For  sale  by 
all  dealers.     See  advertisement  for  all  sizes. 


No.  18. 


NOW  READY. 


No.  18. 


PORTRAITS  IN  CRAYON. 
The  new   book   by   E.   Long,  on   the   art  of 
making  portraits  in   crayon   on   solar  enlarge- 
ments, covers  the  entire  ground,  and  is  sold  for 
the  low  price  of  fifty  cents.     For  sale  by 

Edward  L.  AVilson, 

Philadelphia. 


METAL  GUIDES 

FOB 

A.  M.  COLLINS,  SON  &  CO.'S 
No.  26  Gilt  Bevelled-edge  Cards. 

The  fancy-shaped  mounts  now  so  fashionable 
among  photographers,  require  metal  guides  with 
which  to  cut  the  photographs.  They  are  now 
kept  on  hand,  and  can  be  supplied  in  the  follow- 
ing shapes,  and  at  the  prices  mentioned  : 

Each. 

Cross $1   05 

Star 1  00 

Palette 90 

Leaf 90 

Bell  90 

Crescent 80 

Egg 50 

Triangle 90 

For  sale  by  Edward  L.  Wilson, 

1125  Chestnut  Street, 

Philadelphia,  Pa. 

For  Sale. — A  rare  opportunity  to  purchase 
an  old-established  and  reliable  studio  of  nineteen 
years'  standing  in  the  central  part  of  East  Bos- 
ton, a  place  with  a  population  of  35,000,  and  only 
one  other  small  gallery  at  the  extreme  southern 
part.  The  rooms,  which  are  well  furnished  and 
equipped,  are  up  two  flights  of  stairs,  and  have 
north,  top,  and  side  light,  with  fine  printing- 
room.  Rent,  $168  per  year.  Have  done  more 
business  the  last  two  years  than  ever  before. 
Feel  obliged,  on  account  of  poor  health,  to  re- 
tire from  business  and  seek  a  milder  climate. 
We  are  prepared  to  satisfy  anyone  that  this  is 
truthful.  Price,  $1350.  Send  for  circular. 
Address        W.  R.  Hawkes, 

74  Meridian  Street, 

East  Boston,  Mass. 


GOLD,    SILVER,    AND   NICKEL 

PLATING. 
A  USEFUL  TRADE,  EASILY  .LEARNED. 


PRICE,  $3.50. 

In  order  to  meet  a  long-felt  want  for  a  con- 
venient and  portable  plating  apparatus,  with 
which  any  one  can  do  the  finest  quality  of  gold, 
silver,  and  nickel  plating  on  watches,  chains, 
rings,  knives,  forks,  and  spoons,  I  have  made 
the  above  low-priced  set,  consisting  of  tank 
lined  with  acid-proof  cement,  three  cells  of 
battery  that  will  deposit  thirty  pennyweights  of 
metal  a  day,  hanging  bars,  wire,  gold  solution, 
one  quart  of  silver  solution,  and  half  a  gallon  of 
nickel.  Also  a  box  of  bright  lustre,  that  will  give 
the  metal  the  bright  and  lustrous  appearance  of 
finished  work.  Remember  these  solutions  are 
not  exhausted,  but  will  plate  any  number  of 
articles  if  the  simple  book  of  instructions  is  fol- 
lowed. Any  one  can  do  it.  A  woman's  work. 
For  fifty  cents  extra  will  send  six  chains  or  rings 
that  can  be  gold-plated  and  sold  for  two  dollars 
more  than  the  whole  outfit  costs.  Our  book, 
Gold  and  Silver  for  the  People,  which  offers  un- 
rivalled inducements  to  all,  sent  free.  If  not 
successful,  can  be  returned  and  exchanged  for 
more  than  its  value.  Remember,  this  is  a  prac- 
tical outfit,  and  I  will  warrant  it,  or  it  can  be 
returned  at  my  expense.  Will  be  sent  C.  O.  D., 
if  desired,  upon  receipt  of  $1.50,  balance  to  be 
collected  when  delivered.  Next  size  outfit,  with 
tank  12  x  10  x  6,  only  $5.00.  Try  it.  Profits, 
over  three  hundred  per  cent.  Book  sent  free. 
Address  Fredk.  Lowey, 

96  &  98  Fulton  St., 

New  York. 


AMEKICAN 

Electric  Light,  60  Cents. 

A  complete  model  incandescent 
electric  lamp,with  batttery,  stand, 
globe,  platina  burner,  wire,  etc., 
with  instructions  for  putting  in 
perfect  operation,  will  be  sent, 
post-paid,  for  60  cents.  Address 
Fredk.  Lowey, 

96  Fulton  St.,  N.  Y, 


THE    PHILADELPHIA    PHOTOGKAPHER. 


67 


SEWING  MACHINE 

SIMPLE 


THE  ONLY  SEWING  MACHINE 

L         .  THAT  GIVES J 


Wfmmmmn 


rHAS  NO  EQUAL^ 

i  Am 


SEWING  MACHINE  CO 

ORANGE  MASS. 

30  UNION  SQ.N.Y.   CHICAGO  ILL 

ST.  LOUIS  MO.  ATLANTA   QA. 

-^FOR    SALEBYF^ 


M.  WERNER, 
PORTRAIT    ARTIST, 

No.  102  N.  Tenth  Street,  Philadelphia. 

Photographs  finished  in  crayon,  India  ink, 
water  colors,  and  pastel,  in  all  sizes,  in  the  very 
best  styles,  and  at  moderate  prices. 

Solar  Prints  and  Enlargements  Furnished. 


FREE  PRESS 


and  The  Household. 


THE  WITTIEST,  BRIGHTEST  AND 
3EST  OF  WEEKLIES. 


THE  GREAT  FAMILY  PAPER. 


Ten  Pages  of  Reading  Matter  in 
Infinite  Variety. 


M 

PA 


SUBSOEIBB    USTOW 

AND  RECEIVE  THE  PAPEB  FOE  THE 

BALANCE  0FJ884  FREE 

SEND  FOR  SAMPLE  COPT.    AGENTS 
WANTED  EVERYWHERE. 

THE  FREE  PRESS  CO.,      Detroit,  Mich, 


FREE  PRESS 


Wanted. — A  first-class  operator,  who  can  pro- 
duce fine  work,  both  under  the  light  and  in  the 
dark-room.  One  who  can  fulfil  the  above  re- 
quirements may  address,  with  particulars, 

care  Leach,  Anthony  &  Co., 

591  Broadway,  N.  Y. 


For  Sale. — A  copying  and  view  business. 
Everything  in  complete  running  order.  Am  not 
able  to  attend  to  it.     Address 

N.  P.  &  Co., 

453  C  St.,  N.  W., 
Washington,  D.  C. 


68 


THE  PHILADELPHIA   PHOTOGEAPHEH. 


"We  are  Ready. 
Owing  to  the  sudden  increase  in  the  demand 
for  the  Rockwood  Dry  Plates,  we  were  obliged 
through  the  months  of  July  and  August  to  de- 
cline many  orders.  We  have  now  more  than 
quadrupled  our  facilities,  and  introduced  im- 
provements which  will,  we  hope,  enable  us  to 
fill  orders  with  promptness,  and  give  us  plates 
possessing,  if  possible,  still  more  sensitiveness 
and  uniformity.  For  price-lists  and  samples  of 
work  done  by  the  "  Rockwood  Plate," 

Address     J.  A.  Randel,  Manager, 

17  Union  Square,  New  York. 


E.  W.  HECKEL, 

PORTRAIT    ARTIST, 

No.  832  Race  Street,  Philadelphia,  Pa. 

Photographs   finished    in    crayon,    India-ink, 

water-colors,  and  pastel  in   the  highest  style  of 

the   art;    also    portrait    retouching   and    solar 

prints  and  enlargements.     Terms  moderate. 


For  Sale.— $1200  dollars  will  buy  the  only 
photograph  gallery  in  Tampa,  Florida.  To  a 
party  wishing  to  come  south  this  is  a  rare 
chance.  Address  J.  C.  Field, 

Tampa,  Fla. 

SITUATIONS  WANTED. 

No  charge/or  advertisements  under  this  head;  limited 
to  four  lines.    Inserted  once  only,  unless  by  request. 

As  operator  or  dark-room  man — wet  or  dry 
plates.  Fifteen  years  in  the  business.  Address 
R.  Curi,  Box  102,  Taftville,  Conn. 

At  general  work.  First  class  at  printing, 
toning,  and  retouching.  Has  some  experience 
in  operating.  Address  C.  P.  Reif,  109  South 
Sabina  Street,  Syracuse,  New  York. 

As  posing  artist,  in  a  first-class  gallery. 
Twenty  years'  practical  experience,  much  of  it 
being  with  Notman,  of  Montreal,  and  A.  N. 
Hardy,  of  Boston.  Address  Artistic  Photogra- 
pher, 493  Washington  Street,  Boston,  Mass. 

By  a  young  man  who  can  operate,  print,  and 
do  first-class  retouching.  Address  A.  K.  Fal- 
coner, Murray,  Orleans  Co.,  N.  Y. 

By  a  young  man  of  three  years'  experience, 
as  printer,  toner,  and  assistant  retoucher.  Best 
of  reference.  Address  Ed.  0.  Mack,  Box  184> 
Bethlehem,  Pa. 

Permanently  as  operator  in  first-class  gallery. 
Can  pose  and  manipulate.  Samples  sent.  Ad- 
dress W.  H.  Hunt,  Morrison,  111. 


By  a  lady  artist.  Can  do  first-class  work  in 
water  colors  and  ink.  Porcelain  and  miniature 
work  a  specialty.  Finishes  backgrounds  in 
opaque  colors  ;  plain  and  landscape.  Is  also  an 
experienced  retoucher.  Will  furnish  specimens 
and  reference  to  any  one  meaning  business. 
Good  salary  expected.  Address,  129  Trumbull 
Street,  Hartford,  Conn. 

By  a  lady  of  experience,  in  good  gallery. 
Can  spot  and  finish,  and  will  assist  in  printing. 
Address  Miss  H.  M.  Holmes,  New  Haven,  Conn. 

By  a  young  lady  of  five  years'  experience,  as 
retoucher,  crayon  and  India- ink  worker.  Will 
spot,  tint,  and  attend  reception-room,  etc.  First- 
class  reference.  Address  Retoucher,  care  of 
Mrs.  Bailey,  64  Congress  Street,  Buffalo,  N.  Y. 

As  printer  and  toner,  with  chance  to  improve. 
Address  H.  T.,  2624  Waterloo  Street,  Phila.,  Pa. 

By  a  good  general  workman  who  is  capable 
of  taking  charge  of  gallery.  Address,  giving 
full  particulars,  and  stating  salary,  George  Ep- 
stein, 270  Lasalle  Street,  Chicago,  111. 

By  a  practical  man  in  all  branches  of  pho- 
tography, with  a  first-class  gallery.  Operating 
preferred.  Address  R.  T.  Phillips,  Cape  May, 
New  Jersey. 

By  a  New  York  first-class  operator  and  re- 
toucher, who  is  desirous  of  making  a  change. 
Wages  $18.00.  Address  Schliceisen,  950  Summit 
Avenue,  Jersey  City,  N.  J. 

By  a  young  lady,  to  retouch  and  attend  re- 
ception-room. Salary  not  so  much  an  object  as 
experience.  Address  Miss  M.  L.  Asnley,  Box 
689  Willimantic,  Conn. 

By  a  young  man  of  sober  and  steady  habits, 
in  a  good  gallery  in  either  city  or  country,  as 
printer  and  toner,  or  assistant  operator.  Has 
had  five  years'  experience.  Address  F.  W.  L., 
Box  1373,  Wooster,  Ohio. 

As  a  first-class  operator  in  dry  and  wet  plates. 
Address  E.,  care  George  Kelly,  481  Milwaukee 
Avenue,  Chicago,  111. 

As  operator  or  dark-room  man.  Can  also  re- 
touch, print,  or  tone.  Can  handle  either  wet  or 
dry  plates ;  have  no  choice.  Best  of  Chicago 
references.  Address  Photo.,  care  of  E.  L.  Wil- 
son, 1125  Chestnut  Street,  Philadelphia,  Pa. 

After  February  1st,  as  an  A  1  retoucher. 
Parties  meaning  business  will  please  address 
for  samples,  P.  W.  C,  48  Pine  St.,  Binghamton, 
New  York. 

As  retoucher,  in  a  strictly  first-class  gallery. 
Address  Theodore  Heinig,  16  Van  Buren  Street, 
Dayton,  Ohio. 


tfHE    PHILADELPHIA    PHOTOGRAPHER.  69 


THE  CONVENTION  CITY. 


i 


mm  &  c§ 


§ 


Nos.  141  &  143  W.  FIFTH  STREET, 


CINCINNATI,  O. 


ESTABLISHED  1843. 


The  only  House  in  the  City  Dealing 
Exclusively  in 


tn 


70 


THE    PHILADELPHIA    PHOTOGRAPHER. 


GAYTON  A.  DOUGLASS. 


HENRY  G-.  THOMPSON. 


Douglass,  Thompson  &  Co. 

229  &  231  State  St,  Chicago,  111. 

MERCHANTS  IN  SUPPLIES  FOR  THE 

Art-Soienoe  of  Pliotograpliy 

Photographers'  Booksellers,  Stationers,  and  Newsdealers. 


CARBUTT'S 

Keystone  Dry  Plates 

AND  PHOTOGRAPHIC  SPECIALTIES. 


\\$pip? 


Specials  for  Portraiture. 

A.  for  Transparencies. 

B.  for  Landscapes  and  General  Pho- 

tography. 


OPAL    PLATES,  Gelatino-Albiunen  or  Gelatino- 
Chlorides,  for  Positives  and  Transparencies, 


wgl&nlMmiM 


Multum  in  Parvo  Dry-Plate  Lantern. 

Garbutt's  Pyro.  and  Potash  Developer,  Concentrated, 
Two  8oz.  bottles  75  cents. 

Kuby  Paper  and  Negative  Varnish. 


FOB,  SALS  BY  ALL  DEALEBS. 

JOHN  CARBUTT,  Keystone  Dry-Plate  Works, 

Wayne  Junction,  Philadelphia,  Pa. 


SAVE  SEVEN  AND  ONE-HALF  DOLLARS 

On  Every  Beam  of  Plain  Salted  Paper  you  Use  by  Buying 

Buchanan,  Smedley  &  Bromley's 

New  Special  Brand  of  SUPERIOR  SALTED  PAPEB, 

BOX-^^OOD  SURFACE. 

To  end  the  war  in  prices,  we  step  forward  and  make  one  grand  reduction  in  the  price  of  this 
kind  of  Photographic  Paper.     $28.00  per  Ream,  former  price.     Our  new  price  is 


$20.50  PER  REAM. 


$20.50  PER  REAM. 


Same  size  as  demon's  Matt-surface  and  Morgan's  Salted  Papers.     Sample  sheet  free,  by  mail, 
to  any  address,  upon  receipt  of  6  cents  in  postage  stamps.     Ask  your  local  dealer  for  it. 

BUCHANAN,  SMEDLEY  &  BROMLEY,  25  NORTH  SEVENTH  STREET,  PHILADA. 


THE  PHILADELPHIA  PHOTOGEAPHEE. 


71 


PASSAVANT'S  DRY  PLATES 

ARE  CONCEDED  BY  THE  LEADING  PHOTOGRAPHERS 
OF  THE  PACIFIC  COAST  TO  BE 

THE  BEST  AND  MOST  RELIABLE  IN  THE  MARKET. 


CIP. 
HL. 


3^x4X, 
4x5, 
4%  x6^, 
5     x7, 


Specially  for  Portraiture  and  Instantaneous  Views, 
requiring  one-half  the  time  of  other  Dry  Plates, 
working  with  great  softness  and  delicacy. 

For  ordinary  Studio  Work  and  Landscape. 


PRICE  LIST. 


Per  Doz. 

SO  60 

90 

1  20 

1  75 


5x8, 

6^x8^, 
8  x  lO, 
10  x  12, 


Per  Doz. 

$1  75 

2  30 

3  40 
5  00 


11  x  14, 
14  x  17, 

17  x  20, 

18  x  22, 


Per  Doz. 

$6  50 
12  OO 
20  00 
24  00 


Numerous  testimonials  from  all  parts  of  the  States  at  hand.     Try  them. 

Passavanf's  Photographic  Dry  Plate  Factory, 

306  GUERRERO  STREET,  SAN  FRANCISCO,  CAL 

OSCAR    FOSS,    SOLE    AGENT    FOR    THE    PACIFIC    COAST. 


HIGHEST  CLASS  OF  HAND  PAINTED 
DISSOLVING  VIEW  SLIDES, 

As  Used  at  the  Late  Eoyal  Polytechnic,  England, 


Messrs.  WILKINSON  &  OO. 

ARTISTS  AND    OTICIANS, 

Not  merely  Colorists  of  Photographs,  as  nearly  all 
other  slide  producers  are,  beg  to  draw  your  special 
attention  to  the  fact  that  they  can  paint  any  subject, 
commencing  on  the  bare  glass.  Any  Engraving, 
Print,  Drawing,  etc.,  can  be  copied  as  Slides,  and 
most  artistically  finished.  They  can  also  color  good 
Photo.  Slides  in  a  far  superior  manner  to  any  other 
house.  Slides  may  be  had  from  3  inches  to  10  inches 
in  diameter.  As  these  slides  take  a  good  while  to  do, 
and  are  only  done  to  order,  customers  must  order 
during  the  summer  months.     Samples  may  be  had. 

IS   HOLMESIDE,  BOROUGH  ROAD,  SUNDERLAND. 
Old  or  damaged  Slides  and  Apparatus  repaired.    Condensers  for  all  purposes,  any  size  to  order 


HODGE   &  HUSTON, 

THE  SOLAR  PRINTERS 

622  Arch  Street,  Philadelphia. 

PERMANENT  PRINTS  BY  THE  PLATINUM  PROCESS. 
———ELECTRIC  LIGHT.- 


72  THE    PHILADELPHIA    PHOTOGRAPHER. 

THE  PLATINOTYPE. 

(  PATENTED.) 

WILLIS  &  CLEMENTS,  Proprietors,  25  N.  Seventh  St.,  Philadelphia. 


Endorsed  by  SABONT,  GUTEKUNST,  and  many  others. 


This  process  is  best  adapted  for  Solar  Enlargements,  large  contact  Portrait  Work,  8  x  10  and 
larger,  Copies  of  Paintings  and  Engravings,  Prints  on  Linen,  etc.,  etc.  Amateurs  will  find  this 
process  the  most  artistic  for  Landscapes.  Lincenses  sold  to  professionals  and  amateurs  on  reason- 
able terms.     Send  for  latest  instructions.     Address  all  communications  to 

WILLIS  &  CLEMENTS,  Patentees, 

OR  TO 

BUCHANAN,  SMEDLEY  &  BROMLEY, 

General  Agents  for  Sale  of  Materials, 

25  North  Seventh  St.,  Philadelphia. 


ALBERT  MOORE  « SOUR  ENLAR6ER, 

THE  LONGEST,  LARGEST,  AND  BEST. 

828  Wood  Street,  Philadelphia. 
OUR  SPECIALTIES. 


BROMIDE  AMMONIUM,  Chem.  Pure. 

BROMIDE  POTASS.,  Chem.  Pure. 

NITRATE  SILVER,  Chem.  Pure. 

FOR  DRY  PLATES. 

CROSS-SWORD    DRESDEN    ALBUMEN    PAPER, 
Single  and  Extra  Brilliant.    The  Best  in  the  Market. 

ALSO  A  GENERAL  LINE  OP 

PHOTOGRAPHIC   CHEMICALS. 

A  circular,  "How  to  Save  Waste,"  sent  on  application. 

CHAS.  COOPER  &  CO. 

194  Worth  St.,  New  York. 


THE  PHILADELPHIA  PHOTOGEAPHEK. 


73 


720  (S  gross)  of  these  trimmers  were  sold  to  one  party  in  July. 

3BINSON'S 
NEW  MODEL 


.sons  PHOTOGRAPH  TRIMMERS ! 


T3 

«C    c 
u  M  - 


2  (2  -§ 


56   = 


•Jfc 


These  invaluable  instruments  are  already  used  all  over  the  country,  and 
now,  a  change  of  form  having  permitted  an  immense  reduction  in  price, 
they  must  soon  be  UNIVERSALLY  USED  as  they  afford  a  quicker, 
better,  and  less  expensive  means  of  trimming  photographs  than  any  other. 
The  inventor  assures  photographers  that  his  trimmers  can  be  used  with 
greater  ease  when  held  as  indicated  in  the  drawings  below.  These  trim- 
mers are  now  made  entirely  of  metal,  and  in  quality  are  fully  equal  to  those 
of  the  old  model.  They  answer  for  oval,  round,  arch  top,  and  square 
work. 


Plan  of  holding  the  Straight    Cut  Trimmer 
when  in  use.     PRICE,  50   CENTS. 


Plan  of  holding  the  Revolving  Trimmer  when  in 
use.     PRICE  (with  one  card  guide)  $1.00. 


OVALS. 

2x2i 

3|x4| 

5x7 

61x8^- 

2£x3i 

8fz4f 

5Jx7i 

6Jx8J 

2£x3i 

3Jx4£ 

5£x7J 

7x9 

^8  X3g 

3fx5£ 

5fx7| 

7Jx9i 

2fx3f 

4x5| 

5|x7| 

7Jx9J 

2^x41 

4fx6f 

6x8 

7|x9| 

INSON'S     G-TTIX>:E3S. 

MADE   OF   SHEET-IRON. 
We  have  the  following  Regular  Sizes  always  on  hand  at  io  cents  per  inch  the  longest  way  of 
the  aperture. 

SQUARE  OR  ROUND  CORNERED, 

2Ti_x3f  2^x8|  2fx4J  4x5| 

2£x3f  2^x3$  2£x4f         4-|x5i 

2|x3|  2fx4£  3|-x5£         3|x6 

2Ax3i|  4x6£ 

FOB  STEREOGRAPHS. 

Arch  Tops.  Round  Cornered.  Round. 

3^x3f,  3x3         3Jgx3f,  3x3  3x3 

The  above  sizes  suit  the  Collins  Card  Mounts,  and  photographers  knowing  that  they  can  be 
always  had  at  the  low  price  of  ten  cents  per  inch,  would  do  well  to  make  their  sizes  accord,  as 
orders  can  also  be  filled  more  quickly.     Ten  days  are  required  to  make  special  sizes. 

Special  Sizes  made  to  order,  at  15  cents  per  inch,  the  longest  way  of  the  aperture. 

ROBINSON'S  PHOTOGRAPH  TRIMMERS  are  substitutes  for  the  Knife  for  Trimming 

Photographs,  and  do  the  ivork  much  more  expeditiously  and  elegantly. 

They  Save  Time,  Save  Prints,  and  Save  Money. 

They  do  not  cut,  but  pinch  off  the  waste  paper,  and  leave  the  print  with  a  neatly  beveled  edge 
which  facilitates  adherence  to  the  mount.  Try  one,  and  you  will  discard  the  knife  and  punch  at 
once.     For  ovals  and  rounded  corners  they  are  worth  their  weight  in  gold. 

SdS&bS  EDWARD  L.  WILSON,  Manufacturer's  Agent,  1125  Chestnut  St.,  Philada. 

4 


74 


THE  PHILADELPHIA  PHOTOGKAPHEK. 


REMOVAL   NOTICE. 


"THE  MOUND  CITY" 

PHOTOGRAPHIC  STOCK  HOUSE. 

Has  Removed  to  their  New  and  Elegant  Building, 

Cor.  Eighth  and  Locust  Streets, 

OPPOSITE  NEW  CUSTOM  HOUSE  AND  POST  OFFICE. 

Where  they  have  better  facilities,  more  and  pleasanter  rooms,  and  are  better 
prepared  than  ever  before  for  supplying  the  wants  of  their  customers. 


Address 


SEND  ALONG  YOUR  ORDERS. 
H.    A.    HYATT, 

Eighth  and  Locust  Sts.,  St.  Louis,  Mo. 

Send  for  Illustrated    Catalogues  and  Price  List  of   Photographic   Goods  and 
Picture  Frames. 


P10T0GRAPHISCHE  MITTHEILUN6EN. 

♦■ 

We  are  now  prepared  to  receive  subscriptions  for  Dr.  Hermann  W.  Vogel's  magazine  bearing 
the  above  title. 

The  MITTHEILUNGEN  is  published  in  German  and  is  issued  semi-monthly  at  $3.00  per  year, 
postage  paid.  To  all  of  our  German  photographers  and  many  others  this  will  be  considered  a 
desirable  opportunity. 

The  Magazine  is  published  at  Berlin.     Subscriptions  received  by 

EDWARD    L.  WILSON, 

1125  Chestnut  Street,  Philadelphia,  Pa. 


THE    PHILADELPHIA    PHOTOGRAPHER. 


75 


WILSON'S  PHOTOGRAPHIC 


^(^H 


-h{^  WWfiW W  ®N  EYE^Y  B^PCP  0E  Pp0¥@GWflY.#<- 


THE  PHILADELPHIA  PHOTOGRAPHER. 

A  monthly  Magazine,  illustrated  by  pho- 
tographs of  superior  merit.  $5.00  a  year ; 
$2.50  for  six  months. 

Stands  ahead  of  all  its  kindred.  Eighteen  years  of 
success  is  a  sufficient  guarantee  of  its  value  and  use  to 
the  practical,  working,  growing  photographer.  Do  not 
go  without  its  valuable  help. 


WILSON'S  PHOTOGRAPHICS 

THE   NEWEST   AND    MOST   COMPLETE 

PH0T0GEAPHI0   LESSON-BOOK. 

Covers  Every  Department. 

352  Pages.    Finely  Illustrated.     Only  $4.00. 

By  Edward  L.  Wilson. 


WILSON'S  LANTERN  JOURNEYS. 

By  Edward  L.  Wilson.     In  Three  Vols. 
Price,  $2.00  per  vol. 

For  the  lantern  exhibitor.  Gives  incidents  and  facts 
in  entertaining  style  of  about  2000  places  and  things, 
including  200  of  the  Centennial  Exhibition. 


THE  PROGRESS  OF  PHOTOGRAPHY 

SINCE  1819. 

By  Dr.  H.  Vogel.     Price,  $3.00. 

Issued  July  15th,  1883.     A  splendid  work. 


BIGELOW'S  ARTISTIC  PHOTOGRAPHY. 

Price  reduced  to  $4.00. 

For  the  lover  of  art.  Beats  his  "  Album  of  Lighting 
and  posing."  Superb  !  With  twelve  photographs  and 
instructions. 


THE  FERROTYPER'S  GUIDE. 

Price,  75  cents. 

Cheap  and  complete.     For  the  Ferrotyper,  this  is  the 
only  standard  work.     Seventh  thousand. 


STUDIES  IN  ARTISTIC  PRINTING. 

By  C.  W.  Hearn.     Price,  $3.50. 

Embellished  with  six  fine   cabinet  and  promenade 
portrait  studies. 


PICTORIAL  EFFECT  IN  PHOTOGRAPHY. 

By  H.  P.  Kobinson.     For  the  Art  Photog- 
rapher.   Cloth,  $1.50.    Paper  cover,  $1.00. 


THE 
PHOTOGRAPHIC  C0L0RISTS'  GUIDE. 

By  John  L.  Gihon.     Cloth  bound,  $1.50. 

The  newest  and  best  work  on  painting  photographs. 


PHOTOGRAPHIC  MOSAICS,  1885. 

Cloth  bound,  $1.00 ;  paper  cover,  50  cents. 
Back  volumess.  same  price. 

Better  than  any  of  its  predecessors. 


COPIES  MAILED  POST-PAID  ON  RECEIPT  OF  PRICE. 


EDWARD  L.  WILSON, 

Photo.  Publisher.  1125  Chestnut  St.,  Phila. 


76 


THE    PHILADELPHIA    PHOTOGRAPHEK. 


THIS  FAVORITE  ANNDAL  NOW  READY. 

144  PAGES.— 50  CENTS;   CLOTH  COVER,  $1.00—144  PAGES. 

CONTEN  TS. 


i.  A  Pot  Pouri  of  the  Past.  27. 

2.  Bits  of  Experience.     Geo.  H.  Croughton,  Phila. 

3.  How  Rapid  are   Dry  Plates?      H.   D.   Garrison,  28. 

Chicago. 

4.  The    Photographic   Dude.      J.    Pitcher    Spooner,  29. 

Stockton,  Cal. 

5.  My  Developer.     Wm.  McComb,  Muskegon,  Mich  30. 

6.  A  Hint  for  the  New  Year.     Marcus  H     Rogers,  31. 

N.  Brimfield,  Mass 

7.  Energy.     R.  E.  Wood,  St.  Helena,  Cal.  32. 

8.  A  Rapid  Emulsion.     Geo.  Sperry,  Evansville,  Ind. 

9.  Amateur  Photography  a  Teacher.     A.  Bogardus,  33. 

New  York. 

10  A  Few  Photographic  Hints.     H.  K.  Seybold.  34. 

11  Photographic  Experiences.     Dr.  G.  F.  H.  Bartlett, 

Buffalo,  N.  Y.  35. 

12.  Something  Not  Necessarily  Dry.    Chas.  E.  Emery,  36. 

Silver  Cliff,  Col.  37 

13.  Elevate  Ourselves   First       J.  C.  Moulton,  Fitch- 

burg,  Mass.  38. 

14.  Photo  -Hash.     J.  A.  Sheriff,  San  Diego,  Cal. 

15.  Weak  or  Strong  Development.    Dr.  H.  Sturenberg.  39 

16.  How  to  Develop  Landscapes  upon  Dry  Plates,  or 

a   Method  of  Testing   Plates   whose   Time   of  40. 

Exposure  is  Unknown.     Dr.  H.  W.  Vogel. 

17.  How   to    Make    Home-made    Retouching    Lead.  41. 

Chas.  Latham,  Bradford,  Pa. 

18.  Something  About  Blisters.     B.  T.  Rice,  Frankfort,  42. 

Kansas. 

19.  How    to    Number    Negatives.       H.    S.    Stevens,  43. 

Keene,  N.  H.  44. 

20.  A  Few   Things  to   Save   Money.     H.  G.  Parcell,  45. 

Kingsville,  Mo  46. 

21.  An  Amateur's   Views   on  Prices.     W.  R.  Trippe,  47 

Goshen,  N.  Y.  48 

22.  How  I   Got   White   Streaks   on   my   Stereoscopic 

Negatives.     J.  J    Eskill,  Florence,  Wis. 

23.  Practical      E   E.  Van  Epps,  Hanover,  Kansas 
--4.  How  I  Clean  Varnished  Films  from  Old  Negatives.  50. 

E.  D.  Ritton,  Danbury,  Conn. 

25.  A  Good  Copying  Paper.     Dr.  Stevenberg.  51. 

26.  A    Few    Notes    for    Mosaics.     Will   A.   Triplett, ' 

Bluffton,  O.  52. 


The  Lesson  to  Learn.      M.  H.  Albee,  Marlboro, 

Mass 
To    Know    How.      S.    P.  Tressler,    Fort    Scott, 

Kansas. 
Whither  are  we  Drifting?     H.  B.  H'Hyer,  Austin, 

Texas. 
The  Best  Dry  Plate  Developer.  Dry  Plate  Maker. 
The    Cincinnati    Convention.     Chas.    T.    Stuart, 

Hartford,  Conn 
Home-made   Dry   Plates.     Jay  Densmore,  Niles, 

Mich. 
Practical,    Pointed,   and   Clear.     John  D.  Miller, 

Elizabethtown,  Pa. 
A   Very    Convenient   Washing   Box      Mrs.  E.  N. 

Lockwood,  Ripon,  Wis. 
On  the  Reduction  of  Negatives.     H.  K   Seybold. 
A  Warning.     Henry  Piatt,  Nantucket,  Mass. 
Slow  Development — a  Word  to  Beginners.     Alfred 

Ganze. 
Home-made  Plates.     Ranald  Douglass,  E.  Gardi- 
ner, Mass 
A  Cleaning  Solution  for  Gelatine   Negatives  and 

Positives.     R.  G   Weiss 
Gleanings  From  my    Last  Year's   Reading.     Old 

Gray-beard. 
An   Automatic   Washing   Tank.     Geo     W.  Leas, 

Peru,  Ind. 
Smoked  Negatives.    W.  H.  Sherman,  Milwaukee, 

Wis 
Hints  to  Amateurs.  Xanthus  Smith,  Philada.,  Pa 
A  Workman's  Idea.     H.  S    Keller,  Utica,  N.  Y. 
About  Prices.     John  C    Patrick,  Batavia,  N.  Y. 
Exposure      Ellerslie  Wallace,  M.D.,  Philada. 
On  the  Delectable  Dry.     Wm.  H.  Rau,  Philada. 
Photography  in  its  Relation  to  Art.  John  Bartlett, 

Philada. 
The  Attractive  Properties  of  a  Photograph.     C.  M. 

French,  Garrettsville,  O 
A  New   Method   of  Developing   Dry  Plates.     D. 

Bachrach,  Jr.,  Balto.  Md 
Our  Way   is   our   Hobby.     Miss  H.  H.  Flanagin, 

Woodstown,  N.  J. 
"  Nothing  to  Say."     J.  H.  Hallenbeck,  N.  Y. 


EDWARD  L.  WILSON,  Photo.  Publisher,  No.  1125  Chestnut  Street,  Philada. 

FOB  SALE  BY  ALL  DEALEBS. 


THE  PHILADELPHIA  PHOTOGRAPHER 


77 


SCOVILL'S 

NEGATIVE  WASHING  BOXES. 


GUARANTEED  NOT  TO  RUST. 

It  is  necessary  at  a  certain  stage  of  development  to  remove  from  photographic  nega- 
tives all  traces  of  Hyposulphite  of  Soda,  and  it  is  not  generally  convenient  to  place  them 
where  water  will  flow  over  their  surface  a  sufficient  length  of  time  to  accomplish  this  effec- 
tually, without  injury  to  the  sensitive  film.  To  watch  the  plate  is  to  waste  time.  The 
flow  over  it  should  be  with  gentle  force.  This  can  best  be  regulated,  and  a  thorough 
cleansing  from  Hyposulphite  of  Soda  of  every  portion  of  the  negative  be  assured,  by  the 
employment  of  one  of  the  Negative  Washing  Boxes  above  pictured.  Plates  are  simply 
slid  into  the  grooves,  a  guarantee  that  the  film  will  not  be  disturbed  or  marred ;  a  bit  of 
hose  is  slipped  over  a  tap,  and  then  at  the  other  end  over  the  spout  on  the  box.  If  need 
be,  another  section  of  rubber  tubing  is  used  to  carry  off  the  waste  water  to  an  outlet. 
After  this  simple  preparation  the  Washing  Box  is  in  readiness  for  service. 


No.  1 ,  for  3i  x 

4  x 
4^x 
4£x 

5  x 
5  x 
61  x 


PRICE  LIST 


2, 
3, 
4, 
5, 
6, 
7, 
8, 


A\  Plates, 

5 

5J 

6i 

7 

8 

8i 


8    xlO 

LARGER  SIZES  MADE  TO  ORDER. 


eM 

.    $1  20 

1  25 

1  30 

1  35 

1  40 

1  50 

175 

2  25 

Painted  Negative  Washing  Boxes,  40  cts.  additional  for  each  size. 

Oloth  Eubber  Hose  Supplied  for  the  above  Boxes  at  28  cts.  Per  Foot. 
SCOVILL  MANUFACTURING  CO. 


78 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


A  SPLENDID  THING  FOR  PHOTOGRAPHERS. 

.A.     METALLIC 

PROTECTING    CASE, 

With  Glass  Bottle  and  Graduate  Tumbler,  for  Photo.  Developer 
and  other  Solutions. 

Those  who  have  worked  in  the 
field  have  wished  very  often  for  some 
safe  method  of  carrying  with  them 
their  developer  and  other  chemicals  in 
solution.  A  most  useful  article  is  in 
the  market  which  answers  the  purpose. 
We  allude  to  the  patent  metallic  pro- 
tecting cases  invented  for  similar  pur- 
poses. The  bottles  may  be  of  ordinary 
shape  so  they  fit  the  metal  case,  which 
latter  is  drawn  from  solid  metal,  with 
a  locking  ring  on  each  case  to  afford 
perfect  protection  for  the  bottles  con- 
taining the  liquids  which  are  trusted 
to  their  care.  They  are  made  of  dif- 
ferent sizes  :  bottles  of  one,  two,  four, 
and  eight  ounce  mixtures,  and  each 
case  is  made  adjustable  to  bottles  of 
different  lengths.  They  are  made  very 
light,  and  the  corrugation  makes  them 
so  strong  as  to  resist  crushing.  They 
can  be  packed  in  any  position.  The 
metal  is  drawn  of  even  thickness 
throughout,  by  machinery  which  has 
the  weight  of  thirty  thousand  pounds. 

The  first  figure  represents  the  case 
closed,  and  the  second  open  with  the 
bottle  therein.  The  use  of  this  arrange- 
ment assures  the  photographer  that  he 
has  a  safely  kept  stock  on  hand  of  any 
needful  solution. 

PRICE   LIST. * — ^ 


KTrt     1  Diameter,  1%  in.     Length,  3]4  in.    Weight,  4^  oz.    Furnished  with  1  oz. 

11U.   1.     nottle,  each,     .  V       .        . $050 

Nfi     "i    A              Diameter,  3  in.    Length,  5%   in.    Weight,  T^   oz.    Furnished  with 
11U.UA.     4-  oz.  bottle,  with  tumbler,  making  i<  pint  flask,  each, 0  85 

}i(i     A    A  Diameter,  3^    in.    Length,   7  in.    Weight,  14   oz.    Furnished  with 

11  \t.   *X  n.     8  oz.  bottle,  with  tumbler,  making  %  pint  flask,  each, 110 

Nft     1^?    A  Diameter,  3%   in.     Length,  6  in.    Weight,  17  oz.    Furnished  with 

«V.   1U   A.     8  oz.  bottle,  with  tumbler,  making  %  pint  flask,  each,  .130 


«@»TRY    THEM.      NO    MORE    LEAK   OR   BREAK 

SCOVILL  MANUFACTURING  CO., 


W.  Irving  Adams,  Agent. 


423  Broome  Street,  New  York. 


THE  PHILADELPHIA  PHOTOGEAPHEE.       79 

The  PHOTOGRAPHIC  COLORISTS'  GUIDE 

By  the  late  JOHN  L.  GIHON. 


PHOTOGRAPHIC  COLORING— The  growing  demand  for  a  fresh  work  on 
Photographic  Coloring,  one  that  contains  full  instructions  on  all  the  new  and  improved 
methods — for,  like  Photography  itself,  Photo.  Coloring  has  improved  and  progressed — has 
ed  to  the  publication  of  the  same. 

A  Tremendous  Demand  for  the  Book  continues.    Bead  what  it  contains. 


Preface. 

Chap.  I.  On  India-ink  Work. 

II.  The  Principles  to  be  Considered 
in  the  Application  of  Colors. 

III.  The  Materials  used  in  Finishing 

Photographs  with  Water  Colors. 

IV.  Water-color  Painting  as  Applied 

to  Photographs. 


Chap.  "V.  Helative  to  the  Use  of  Paints  that 
are  Mixed  with  Oil. 
"VI.  Coloring  with  Pastels. 
VII.  The  Production  of  Ivorytypes. 
VIII.  The  Crystal  Ivorytype. 
IX.  Crayon  Work. 

X.  Negative  Retouching. 
XI.  About  Matters  so  far  Forgotten. 
XII.  Budimentary  Perspective. 


gH^The  last  chapter  is  on  a  subject  entirely  new  and  fresh,  and  is  finely  illustrated. 


Mailed  on  receipt  of  price,  $1.50  per  copy. 
EDWARD  L.  WILSON,  Photo.  Publisher,  1125  Chestnut  Street,  Philada. 


MANUFACTURERS   OF   PURE 


Photographic  Chemicals, 

Jfo.  622  Jlace  Street,  Philadelphia. 

j^g^  The  Standard  Quality  and  Purity  of  our  Chemicals  make  them  the  most 
desirable  and  reliable  for  photographic  use. 


STOCKDEALERS   ONLY  SUPPLIED.* 


FPFTOFS  of  GOJJ)  and  SIJ^Ypjl  WAST£. 

Waste  sent  through  Stockdealers  will  receive  prompt  attention.' 


80  THE    PHILADELPHIA    PHOTOGEAPHEE. 


A    GREAT  SUCCESS! 

THE 

NEW  DRESDEN  ALBUMEN 


THREE  CROWN  PAPER. 


^SeM^ 


DRESDEN  ALBUMEN  PAPER 


^adeMaJ^ 


#    #    <g> 

DRESDEN  ALBUMEN  PAPER 


fbr  Sa/e  i6y  a//  /^ofc,  Stockcfea/ers. 
SCOVILL  MANUFACTURING  CO., 

NEW  YORK. 


THE    PHILADELPHIA    PHOTOGrKAPHEK.  81 


THE  JfeC       JF    '  '."  /'/  THE 


AIR    «EaV»   AIR 


BRUSH     ■Z*JF<amt--r      »      BRUSH 


r.  KtWZ^gS^  <THlCACf. 


The  Air  Brush  enables  the  photographers  to  produce  large  work,  and  by  so 
doing  add  a  new  attraction  to  their  establishments.  Nearly  every  photographer  is 
certainly  competent  to  distinguish  the  difference  between  high  light  and  half  tone,  and 
between  half  tone  and  shadow,  and  can,  at  all  times  judge  as  to  the  relative  merit  of 
work;  or,  in  other  words,  he  has  the  proper  knowledge  of  true  portraiture,  and  what 
it  should  be ;  but  in  many  cases  he  is  wanting  in  execution. 

And  here  comes  the  great  claim  we  are  able  to  make  for  this  little  instrument  as  a 
photographer's  tool.  As  will  be  seen  on  examination,  it  makes  no  other  than  an 
artist's  line,  and  no  other  than  an  artist's  shadow,  so  that  when  one  becomes  able  to 
control  the  instrument,  it  is  only  necessary  to  know  what  he  wants  to  do,  in  order  to 
produce  any  given  effect;  and  we  claim  that  almost  any  photographic  artist  can  do 
portrait  work  over  his  solars  or  contact  prints,  either  on  plain  or  albumen  paper,  in  a 
way  gratifying  if  not  surprising  to  himself,  either  in  India  ink,  water  color,  or  any 
liquid  pigment.  He  can  make  the  most  satisfactory  vignettes  to  suit  any  particular 
form  of  picture,  and  can  do  an  endless  variety  of  work  in  masking  in  backgrounds 
It  does  beautiful  work  in  the  way  of  building  lights  on  flat  negatives,  and  throwing 
cloud  effects  in  view  work.  In  a  word,  it  puts  into  the  artist's  hand  at  once,  many 
years  of  practised  manipulation  which  few  would  care  to  invest  the  large  amount  of 
time  and  study  to  attain.  The  instruction  book  which  will  accompany  each  instru- 
ment, will  give  such  information  as  will  apply  directly  to  the  use  of  the  Air  Brush, 
together  with  much  general  information  bearing  on  the  subject.  Illustrated  catalogue 
and  specimen  of  work  furnished  free  on  application. 

AIR  BRUSH  MFG.  CO. 

50  Nassau  St.,  Rockford,  111. 

5 


82 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


GIHON'S 

CUT-OUTS 

An  Entirely  New  Variety  for 

Printing  Medallion  Pictures. 


Are  the  very  best  that  are  made,  and  are  now  without  a  rival  in  the  market.  They  are  clean 
cut,  most  desirable  shapes  and  sizes,  and  made  of  non-actinic  paper,  manufactured  specially  for  the 
purpose.  Each  package  contains  30  Cut-Outs,  or  Masks,  with  corresponding  Insides,  assorted  for 
five  differently  sized  ovals  and  one  arch-top. 

Price,  $1.00  per  Package.    Sent  by  mail  on  receipt  of  price. 

Parties  wishing  special  sizes,  or  large  lots  of  a  few  sizes,  may  have  them  cut  to  order  promptly, 
by  addressing  the  manufacturer.      No  lot  costing  less  than  $1.00  made  at  a  time. 
^gg*"No  printer  should  attempt  to  make  Medallion  Pictures  without  them. 

They  Have  no  Equal  for  Quality. 

Beware  of  spurious  imitations  made  of  common  paper,  full  of  holes,  badly  cut,  and  odd  shapes  and 
sizes.  Ask  your  Stock-dealer  for  GIHON'S  CUT-OUTS,  and  see  that  they  are  in  his  envelope,  with 
instruction  circular  included.  The  recent  packages  are  composed  of  an  entirely  new  variety  and  ot  a 
new  paper.     TRY  THEM. 

Promenade  Size  now  Ready.        Sold  Separately  at  50  cents  per  Dozen. 


GIHON'S  OPAQUE 

designed  for  Completely    bscuring  the  Imperfect  Backgrounds  of  Copies,  Retouching  Nega- 
tives, Faulty  Skies  in  Landscapes,  Coating  the  Inside  of  Lenses  or  Camera  Boxes, 
Backing  Solar  Negatives,  Covering  Vignetting  Boards, 
j       lei  nswering  all  the  Requirements  of  the  Intelligent  Photographer  in  the  Production 
of  rtistic  Results  in  Printing. 

Wherever  you  want  to  keep  out  Light,  use  Opaque. 

IT  IS  APPLIED  WITH  A  BRUSH,  DRIES  QUICKLY  AMD  STICKS. 


CUT-OUTS  (thirty),  $1.00.         OPAQUE,  SO  Cents. 

FOR  SALE  BY  ALL  DEALERS. 


Address  all  orders  to 

SCOVILL  MANUFACTURING  CO.,  New  York. 


THE    PHILADELPHIA    PHOTOGEAPHEE.  83 


BEST 


DRES 


D£lV 


BRILLIANT 


EN 

Ever  Offered  to  Photographers. 

WHITE,  PINK,  PENSE. 


FREE  FROM  BLISTERS  AND  IMPERFECTIONS. 


A  NEW  PAPER.    NOW  READY. 

EAGLE  SATIN  FINISH, 

IN  PENSE  AND  PEARL. 

Although  my  importations  of  paper  have  had  a  most  satisfactory  sale,  and  the  old  favorite 
brands  will  be  continued  in  the  market  of  the  same  quality,  I  have  a  New  Brand  which  I  offer 
for  public  favor  which  I  believe  to  be  SOMETHING-  SUPERIOR. 

*^$36.00  A  REAM.^       «^A  REAM  $36.00.^ 

FOB  SALE  BY  ALL  DEALEBS. 

IMPORTED  BY 

G.  GENNERT, 

54  B.  TENTH  ST.,  NEW  YORK. 

FOR    SALE    BY    ALL.    DEALERS. 


EASTERN  AGENT  FOR  THE  CRAMER  DRY-PLATES. 


84  THE    PHILADELPHIA    PHOTOGRAPHER. 

A.  M.  Collins,  Son  &  Co. 

MANUFACTURE  ALL    KLNDS   OF 

CARDS  AND  CARDBOARDS 

FOR 

PhotographerS 


AND 


MATS.  MOUNTS.  AND  ENVELOPES 


'J 

FOE 


FERROTYPES. 


OFFICE  AND  WAREHOUSE, 

No.  527  ARCH  STREET, 

PHILADELPHIA. 


Price  Lists  may  be  had  by  intending  purchasers  on  application 

to  us,  or  to  all  Photographic  Merchants,  through  whom 

your  favors  are  respectfully  solicited. 


THE    PHILADELPHIA    PHOTOGRAPHER. 


85 


WATMOUTH'S 

No.  15'A, 

THE 

Onrtj  Pattern, 

PEAR  SHAPE 

Now  Ready, 

$1.00  PER  DOZ. 


■I"  H  Ei  :iVE  ! 


VIGNETTE  PAPERS. 


19  Sizes 


They  are  not  chimsy  ;  do  not 
break;  are  always  ready ;  cost 
but  little,  and  are  easy  of  appli- 
cation to  any  negative.  They 
need  but  one  adjustment  to  print 
any  quantity.  They  entirely 
do  away  with  all  the  old  and 
troublesome  methods,  either 
wood,  metal,  or  cotton. 


ARE 


Now  Made 

PEAR  SHAPE. 

Prices  Below. 


They  are  printed  in  black 
for  ordinary  negatives,  yellow 
bronze  for  thin  negatives,  and 
red  bronze  for  still  weaker  ones. 
Directions  for  use  accompany 
each  parcel. 


SEE  WHAT  THOSE  WHO  USE  THEM  SAY. 

The  Yignette  Papers  are  just  the  thing.  They  are  a  great  improvement,  and  will  print 
in  little  more  than  half  the  time  required  for  others.  The  results  are  everything  that  can 
be  desired,  as  you  can  see  by  samples  inclosed.  B.  D.  ORMSBY,  San  Francisco. 

FROM  PROFESSIONAL!  AND  AMATEUR  PHOTOGRAPHERS. 

"  First-class." — "  The  sample  sent  answers  perfectly." — "  I  consider  them  first-rate  articles." — "  They  answer  the 
purpose  admirably." — "  They  are  the  best  vignettes  I  have  ever  had,  and  as  you  can  print  in  full  sunlight,  they  are  a 
great  saving  of  time." — "  They  could  not  be  better,  oblige  me  with  another  packet." — "  I  find  them  excellent,  giving 
much  softer  pictures  than  the  old  way." — "I  have  tried  one  of  the  Vignette  Papers,  and  like  it  much;  send  me 
packets  two  and  three." — "I  am  much  pleased  with  them,  and  shall  thank  you  to  send  me  another  packet." — "I  did 
not  need  any  copies  of  testimonials,  having  well  known  by  experience  that  your  Vignette  Papers  were  superior  to 
anything  I  have  ever  used." — "I  found  those  you  sent  before  excellent." — "  Vignetting  Papers  received  and  tested  ; 
can't  be  beat._  I  use  by  cutting  an  opening  in  a  piece  of  card-board  and  tacking  to  the  printing-frame,  when  I  am  ready 
for  printing  vignettes  in  the  very  best  manner." — "Waymouth  Vignette  Papers  I  have  tried,  and  they  are  just  what  I 
have  been  wanting  for  years." 

THOSE  WHO  SELL  THEM ! 


ALL  STOCK-DEALERS 


INCREASE 
THEIR 


ORDERS  LARGELY 


EVERT 
MONTH 


Better  than  any  patent  machine— trouble,  and  sell  better  every  month. 

PRICES: 

In  parcels  containing  one  dozen,  assorted,  from  Nos.  1  to  5 $0  50 

In  parcels  containing  one  of  each  size,  Nos.  1  to  15,  assorted  colors 1  00 

Assorted  sizes  and  colors,  by  number,  per  package  of  15 1  00 

Nos.  1,  2,  3,  4,  and  5,  assorted  sizes  and  colors,  for  Cartes,  by  number,  per  doz 50 

°»  7,  11,  12,  and  13,     »          »                  »       Large  Cartes  and  Victorias  by  number,  per  doz 75 

»     8,  9,  10,  14,  15,  and  15^,  assorted  sizes  and  colors,  Cabinets  and  Whole-size,  by  number,  per  doz 1  00 

"     ".",18,                                »                 »             »       Half           »               »                     »               »       125 

When  ordering,  state  the  number  and  color  you  want. 

EDWARD  L.  WILSON,  Manufacturer,  1125  Chestnut  St.,  Philad'a. 

FOR  SALE  BY  ALL  DEALERS. 

No.  18,  PEAR  SHAPE,  LAST  INTRODUCED,  $1.25. 


86  THE    PHILADELPHIA    PHOTOGRAPHER. 


HANOE'S 

—SPECIAL 


SPECIALTIES. 

I  Anderson's  Portrait  Collodion, 
This  is  especially  a  Winter  Collodion,  and  guaranteed  to  work  with  the  loveliest  har- 
mony, and  the  most  exquisite  softness,  and  freedom  from  all  the  winter  troubles 
which  Photographic  Collodion  is  heir  to.     fi^*  None  genuine  unless  the  signature  of  Elbert 
Anderson,  the  great  dark-room  operator,  author,  etc.,  is  pasted  over  tne  cork  of  the  bottle. 

II 


Ground  Glass  Substitute. 


Is  an  indispensable  article  in  the  photographic  gallery.     There  are  so  many  uses 
to  which  it  can  be  applied  that  a  photographer  having  once  given  it  a  trial,  will 

never  be  without  it,  as  there  is  nothing  known  that  will  take  its  place. 

The  substitute  is  in  the  form  of  a  varnish,  is  flowed  and  dried  the  same  as  varnish,  but 

dries  with  a  granulated  or  ground-glass  surface. 

For  Ground  Glass  for  Cameras. 
"     Glazing  Sky  and  Side  Lights. 
"     Obscuring  Studio  and  Office  Doors. 
"     Printing  "Weak  Negatives. 

All  imitators  have  given  it  up.     They  can't  make  it.     GIVE  IT  A  TEIAL. 


JFor  Vignette  Glasses. 

"    a  Retouching  Varnish. 

"     Softening  Strong  Negatives. 

"    the  Celebrated  Berlin  Process 


PRICE,  50  CENTS  PER  BOTTLE. 


Ill 


Hance's  Delicate  Cream  Gun 

C/OttOn  Is  the  King  Cotton,  and  has  no  peer. 


Prepared  with  particular  care,  warranted  free  from  acid,  and  very  soluble.  It  has  made 
its  way  steadily  and  surely  into  most  of  the  principal  galleries  in  the  country,  where  parties 
prefer  to  make  their  own  collodion,  and  its  superior  qualities  are  shown  in  the  medals 
awarded  at  the  Centennial,  Vienna,  and  Paris  Exhibitions  for  photographs  made  with  col- 
lodion in  which  it  was  used. 

It  is  especially  adapted  to  the  Rembrandt  style,  and  light  drapery.  Its  sensitiveness 
renders  it  particularly  adapted  for  children  or  any  work  that  requires  short  exposure,  though 
admirable  as  well  for  all  work. 

PRICE,  80  CENTS  PER  OUNCE. 

Also,  TRASK'S  FERROTYPETa  ftTYATlIftlW 
HANCE'S  DOUBLE  IODIZED  iUUljLUlJlUll 

PRICE,  $1.50  PER  POUND. 

POB  SALE  BY  ALL  STOCK-DEALERS.  NO  EETAIL  ORDERS  FILLED.  ORDER  OF  TOUR  DEALER 

SCOVILL  MFG.  CO.,  TRADE  AGENTS,  NEW  YORK. 


THE    PHILADELPHIA    PHOTOGRAPHER  87 


JAMES   INGLIS, 


MANUFACTURER  OF  THE 


Inglis  Dry  Plates, 

ROCHESTER.  N.  Y. 


These  plates  are  of  a  very  fine  quality,  and  are  capable  of 
producing  any  effect  desirable.  I  have  never  seen  a  plate  that 
requires  so  little  retouching,  neither  have  I  ever  come  across 
one  so  quick  for  sale. 

D  EVE  LO  PER. 

Wo.  1.  Wo.  2. 


Water, 12  ozs. 

Sulphite  of  Soda,     ...        2    " 

Citric  Acid, 60  grs. 

Bromide  of  Ammonium,    .  20    " 
Pyrogallic  Acid,       ...        1  oz. 


Water, 12  ozs. 

Sulphite  of  Soda,     ...        2    " 
Carbonate  of  Potassium,  .        3    " 


Put  1  oz.  of  No.  1  into  10  ozs.  of  water,  and  the  same  of  No.  2 
into  another  10  ozs.  of  water,  and  use  equal  parts  for  develop- 
ment.    For  quicker  development  use 


Pyro, 1  oz. 

Sulphite  of  Soda,     ...       4    " 
Hot  Water, 48  ozs. 


Washing  Soda,    ....       4  ozs. 
Hot  Water,    .     .     .     .     .     48  ozs. 


Use  equal  parts.  A  drop  or  two  of  a  50-gr.  solution  of  Bromide 
of  Ammonium  will  give  more  contrast  and  clearer  shadows.  It  is 
well  to  keep  the  developer  a  little  warm  in  cold  weather. 


THERE  IS  NO  FEAR  OF  FRILLING. 


SCOVILL  MANUFACTURING  CO,  AGENTS. 

And  For  Sale  by  most  of  the  Dealers. 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


JOHN  G.  HOOD. 


ESTABLISHED    1865. 


WM.  D.  H.  WILSON. 


s0N,    HOOO   $. 

^\J  \  V>  825  Arch  Street,  v>  Q 

PHILADELPHIA, 

SOLE  AGENTS  IN  THE  UNITED  STATES  FOR  THE 


Centennial,  1876. 


Centennial,  1876. 


Ross'  Portrait  and  View  Lenses. 


"WE  HAVE 

NOW 
IN  STOCK 


Portrait  Lenses,  from  1-4  to  8  xlO. 
Cabinet  Lenses,  JVos.  3  and  3. 
Card  Lenses,  Nos.  1,  3,  and  3. 
Triplets,  Nos.  1,  3,  3,  4,  5,  6,  and  7. 
(_   Symmetrical s.     Rapid  Symmetrical*. 


Instantaneous  Doublets,  all  sizes. 
Medium  Angle  Doublets,  all  sizes. 
Large  Angle  Doublets,  all  sizes. 
Stereographic  Lenses,  all  sizes. 
New  Universal  Lens. 


Numerous  testimonials  pronounce  them  to  be  the  best  as  well  as  the  cheapest  Foreign  Lenses  ever 
offered  to  the  American  Photographer.   We  will  mail  price  list  on  application,  and  promptly  fill  all  orders. 


Steinheil's  Sons' 


—NEW  — 
APLANATIC 


Lenses. 


We  now  have  a  full  stock  of  these  Celebrated  Lenses,  at  the  following  prices  . 


No.  1—  1-4  size, 3%  inch  focus, $35  00 

»    a_  l-a      »       51^;        „  „        30  00 

»    3—4-4:      »       7  »  »        45  00 


No.  4—  8x10  size,...  10#  inch  focus,. ..$60  00 

»    5—10x13      »       ...13J£       »  »     70  00 

»    6—13x16      »      ...16i£       »  »     ....110  00 

Nos.  1  and  3  are  in  matched  pairs  for  stereoscopic  work. 
We  feel  sure  that  at  least  one  of  these  lenses  is  needful  for  the  successful  prosecution  of  your  busi- 
ness, and  so  solicit  your  orders.     Always  in  stock,  to  suit  above  Lenses,  CAMERA  BOXES  made  by 
AMERICAN  OPTICAL  CO.,  SEMMENDINGER,  ANTHONY,  BLAIR,  etc. 

WE  KEEP  IN"  STOCK  PULL  ASSORTMENT  OP 

AMATEUR  PHOTO.  OUTFITS 

DRY    PLATES    OF   ALL    MAKES. 

N.  P.  A.  EA&LE  and  S.  &  M.  PAPEE,  PER  REAM,  $30.00. 

Any  article  needed  we  can  supply,  as 
WE  MANUFACTURE,  IMPORT,  AND  DEAL  IN  ALL  KINDS  OP 

Photo.  Goods,  Frames,  Stereoscopes  and  Views, 

At  prices  as  low  as  are  consistent  with  the  quality  of  goods  furnished.  We  are  indebted  to  our 
customers  for  the  patronage  during  the  past  Nineteen  Years,  and  our  efforts  shall  be  to  merit  a  con- 
tinuance of  it. 

Illustrated  Price  Lists  supplied  free.    Correspondence  solicited. 


THE    PHILADELPHIA    PHOTOGRAPHER. 

GET  THE  BEST ! 


PRICES  TO  PHOTOGRAPHERS : 

Per  each  Hundred, 

Per  500,  from  the  same  picture, 
Per  1000 


$1  50 

7  50 

12  00 


With  SSYi  per  cent,  commission  off,  to 
Photographers  on  all  orders  of  more 
than  500.   No  less  than  100  made.  f<& 

SPECIALTY: 
My  Most  ARTISTIC 
DESIGNS  of  own 
make. 


Taken  from  Cabinet 
and  Card  Size  Bust 
Pictures  only. 

My  Portraits  are  endorsed  by 
the  following 
leading  business  firms  : 


G.  Cramer  Dry  Plate  Works 

John  A.  Scholten,  Photographer 

F.  W.  Guerin, 

Latour, 

R.  Uhlmann, 

J.  F.  Ryder. 

P.  S.  Ryder, 

Harry  Setter,  Photographer, 

Theo.  Ltlienthal,  " 


St.  Louis. 
St.  Louis. 
St.  Louis. 
Sedalia. 
St.  Joseph. 
Cleveland. 
Syracuse,  N.  Y. 
Milwaukee. 
New  Orleans. 


DOUGLASS,  THOMPSON  &  CO.,  Sole  Apts  for  the  State  of  111. 


To  better  introduce  the  novelty,  it  is  desirable  that  each  gallery  ordering  should  have  a 
special  design,  with  firm  name  and  address  thereon,  so  as  the  more  readily  to  advertise 
themselves  and  inform  the  public  where  same  can  be  procured.     Such  design  will  cost  $6. 

Send  for  samples,  and  address  to  the  Main  Office,  1423  Chestnut  St. 

C.  H.  TONNDORFF,  Original  Inventor, 

154:6  Chouteau  Ave.,  St.  Louis,  Mo. 


90 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


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THE    PHILADELPHIA    PHOTOGEAPHEE. 


91 


ALL  ONE  PRICE ! 


EASTMAN'S 

RAPID,  INSTANTANEOUS, 

TROPICAL,  and  SPECIAL 

Gelatmo-Bromide  Dry  Plates 

Have  all  been  REDUCED  to  one  Uniform  Price, 


AS  FOLLOWS 


Size,  3X  x  4X, 
"4      x  5, 

"     4X*6K, 
"5     x7, 
"5     x8, 
"     6K  x  8^, 
"     8      x  10, 


Per  doz.,$0  60 

90 

1   OO 

1   20 

1  55 

1  75 

2  30 

3  40 


Size,  10  x  12, 

"  11  x  14, 

"  14x17, 

"  16  x  20, 

"  17x20, 

"  18x22, 

"  20  x  24, 


Per  doz.,  $5  OO 

6  50 

lO  00 

16  00 

17  OO 
20  00 
24  00 


Discount  as  follows :  Orders  amounting  to  $50,  5  per  cent,;  over  $50, 
and  under  $100, 10  per  cent.;  over  $100,  and  under  $200,  15  per  cent. 


BEAR  IN  MIND  THAT 


THE  TROPICALS 


(  Are  the  ONLY  ONES  that  can  be 
^used  in  HOT  WEATHER  without 
(ICE  or  ALUM. 


ALSO,  THAT 


m  TT  TH       CI  "H  Tl  n  T  A  T  CI  f    Are  the  MOST  sensitive,  most 

1  Hl!i  SrJbllALb  assies™1  DEY 


PLATES  ever  made. 

A  Distinguished  Painter  -who  has  taken  up  Amateur  Photography  says 
the  "Specials"  are  quicker  than  chain  lightning. 


-FOR  SALE  BY  ALL  DEALERS- 


SOLE  WHOLESALE  AGENT, 

E.  &  H.  T.  ANTHONY  &  CO., 

591  BROADWAY,  NEW  YORK. 


92 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


OPTICAL  LANTERNS 

AND 

LANTERN  SLIDES. 

Nearly  twenty  years'  experience  as  a  Dealer,  Manufacturer,  and  User  of  these   goods, 
enables  me  to  assure  satisfaction  to  every  purchaser. 


•EVERYTHING   SUPPLIED.-Nc^ 

LECTURE  BOOKS  ON 


Send  for  New  Catalogue.     (15  Cents  in  Stamps.) 

A  superb  list  of  Slides  from  recent  personally  made 

Negatives  of  EGYPT,  ARABIA,  ARABIA  PETR^EA, 
SYRIA,  AND  PALESTINE. 

0®-  CATALOGUES  READY.     THE  MOST  UNIQUE  COLLECTION  EVER  OFFERED. 

READ  WILSONS  LANTERN  JOURNEYS. 

THREE  VOLS.     VOL.  Ill,  "THE  ORIENT,"  JUST  ISSUED. 

By  mail,  $2.00  each,  Post-paid. 

EDWARD  L.   WILSON,  No.  1125  Chestnut  Street,  Philadelphia. 


22d  YEAE. 


ajME-i&jLoiEa:,  isos. 


VLil 


Number  255. 


50  Gents. 


THE 


PHILADELPHIA 


rmhti 


AN  ILLUSTRATED  MONTHLY  JOURNAL, 


DEVOTED  TO  PHOTOGRAPHY. 


EDITED  BY  EDWARD  L.  WILSON. 


PHILADELPHIA:   EDWARD  L.  WILSON, 

PUBLISHER   AND   PROPRIETOR, 

No.  1 1 25  Chestnut  Street. 

SUBSCRIPTIONS  RECEIVED  BY  ALL  NEWS  AND  STOCKDEALERS. 
Five  Dollars  per  Annum,  in  Advance. 


Entered  at  the  Post-Office  at  Philadelphia  as  second-class  matter. 


WILSON'S  PHOTOGRAPHICS,  Fourth  Thousand,  $4.00.  SSKIVt™ 


SUMMARY    OF    CONTENTS. 


Photography  at  the  New  Orleans  Exhibition,  .     65 
Developers — Oxalate  or    Pyro  ?     By  William 

Bell, 67 

What  is  a  "Study,"       .     • 69 

German  Correspondence, 69 

Answers  to  the  Author  of  Vicissitudes  of  Gela- 
tine.    By  Joseph  Doella, 72 

A  Process-monger  Again  on  the  Track,   ...     72 
Photographic  Visits  to  some  of  our  Battlefields. 

By  William  H.  Rau, -73 

Photographing   the  New  Orleans   Exposition. 
By  G.  Hammer  Croughton,  Superintendent 
of  the  Centennial  Photographic  Company,     75 
Pertaining  to  the  Photographers'  Association 

of  America, 78 


PAGE 

Who  will  Help  ? 80 

Obituary. — William  H.  Rhoads, 80 

Dots  of  the  Day, 80 

Our  Picture 81 

Society  Gossip, 82 

Review    of   the  Photographs    in  Philadelphia 
Photographer   for  1884.      By  Charlotte 

Adams, 86 

Exhibition  of  Lantern  Slides   by   the   Photo- 
graphic Society  of  Philadelphia, ....  89 

Questions  Put  by  an  Amateur, 91 

About  Prices.     By  M.  M.  Albee, 91 

Gleanings, 93 

Editor's  Table, 93 


Embellishment. — The  World's  Cotton  Centennial  and  Industrial  Exposition,  New  Orleans.  Edward  L.  Wilson. 


ADVERTISEMENTS. 


ALLEN  BROTHERS.     The  Suter  Lens. 

ANTHONY  &  CO.,  E.  &,  H.  T.  The  New  N.  P.  A. 
Pense  Extra  Brilliant  Dresden  Albumen  Paper. 

BIGELOW'S  ARTISTIC  PHOTOGRAPHY. 

CARBUTT,  J.  Gelatine  Dry  Plates  and  Improved 
Dry  Plate  Lantern. 

BUCHANAN,  SMEDLEY  &  BROMLEY.  Photo- 
graphic Supplies. 

COLLINS,  SON  &  CO.,  A.  M.     Photograph  Cards. 

COOPER,  CHAS.  &  CO.     Union  Negative  Cotton. 

CRAMER,  G.      Lightning  Plates. 

CROSSCUP  &  WEST.     Engravers. 

DEALERS'  DIRECTORY. 

DOUGLASS,  THOMPSON  &  CO.  Supplies  for  the 
Art-Science  of  Photography. 

FRENCH  &  CO.,  BENJ.  Voigtlander  &  Son  and 
Darlot  Lenses.     The  Wonderful  Euryscope. 

GENNERT,  G.     Albumen  Paper. 

HANCE'S  SPECIALTIES. 

HODGE  &  HUSTON.     The  Solar  Printers. 

HYATT,  H.  A.     New  Brand  of  Dry  Plates. 

INGLIS,  JAMES.     "Insoluble"  Dry  Plates. 

KEEVIL'S  PATENT  NEWTONIAN  DUPLEX 
LANTERN. 

MAGEE  &  CO.,  JAS.  F.    Photographic  Chemicals. 

MOORE,  ALBERT.     Solar  Enlarger. 


MOSAICS,  1385. 

OPTICAL  LANTERNS  AND  SLIDES. 

PASSAVANT'S  DRY  PLATES. 

PHOTOGRAPHIC  COLORISTS'  GUIDE. 

PHOTOGRAPHIC  PROGRESS  SINCE  1878. 

PHOTOGRAPHIC  PUBLICATIONS. 

PHOTOGRAPHISCHE  MITTHEILUNGEN. 

PICTORIAL  EFFECT  IN  PHOTOGRAPHY. 

ROBINSON'S  NEW  MODEL  PHOTO.  TRIMMER. 

SCOFIELD'S  UNIQUE  CAMERA. 

SCOVILL  MANUFACTURING  CO.  New  Dres- 
den Albumen  Three  Crown  Paper.  Negative 
Washing  Boxes.     Gihon's  Cut-Outs. 

THE  BLAIR  TOUROGRAPH  AND  DRY  PLATE 
CO. 

THE  HELIOTYPE  PRINTING  CO. 

THE  PHOTO-GRAVURB  COMPANY. 

TONNDORFF,  C.  H.     Stamp  Portraits. 

UNDERWOOD  MFG.  CO.     Mailing  Box. 

WAYMOUTH'S  VIGNETTE  PAPERS. 

WILKINSON  &  CO.     Artists  and  Opticians. 

WILSON,  HOOD  &  CO.  Ross  and  Steinheil  Lenses, 
Photo.  Frames,  Goods,  Stereoscopes,  and  Views. 

WILSON'S  PHOTOGRAPHICS. 

WILSON'S  LANTERN  JOURNEYS. 

WILSON'S  VIEWS  OF  THE  ORIENT. 


119  South  Fourth  St. 

PHILADELPHIA. 

Branch  Office, 
605  Seventh  Street, 

WASHINGTON,  D.  G. 


H.  HOWSOtf, 

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C.  HOWSOtf, 

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Patent  Cases. 


THE  PHILADELPHIA  PHOTOGRAPHER.       49 


The  Photo-Gravure  Company, 

OFFICE 

853   BROADWAY,   NEW   YORK. 

(The    "  Domestic "    Building,  \ 
Broadway  and   14th  Street.    / 


PRESIDENT,  ERNEST  EDWARDS,  —  late  of  the  Heliotype  Printing 
Company,  of  Boston,  and  Inventor  of  the  Heliotype  Process. 

VICE-PRESIDENT  AND  TREASURER,  WALTER  B.  MOORE, 
—  Editor,  "The  Public  Service  of  the  State  of  New  York." 

SECRETARY,  W.  I.  SCANDLIN,  —  late  Manager  New  York  Office, 
Heliotype  Printing  Co. 


THE  PHOTO-GRAVURE  COMPANY  will  com- 
mence business  on  March  ist,  with  an  office  fully 
equipped  for  PHOTO-MECHANICAL  PRINTING  AND 
PUBLISHING.  Their  specialties  will  be  ART  and 
SCIENTIFIC  work  and  ART  CATALOGUES,  produced 
by  the   following   processes : 

PHOTO-GRAVURE,  —  The  process  of  Mr.  Ignatz 
Oesterreicher. 

GELATINE  PRINTING,  —  Heliotype,  Autoglyph, 
Indo-Tint. 

PHOTO-LITHOGRAPHY,  —  Osborne's  process. 

PHOTO-LITHOGRAPHY  IN  HALF  TONE, — 
Mr.  Edwards'  process,  oased  on  Meisenbach's 
method. 

PHOTO-ENGRAVING,  —  Swelled   gelatine   process. 

PHOTO-ENGRAVING  IN  HALF  TONE,  —  Mei- 
senbach's process  as  worked  by  Mr.  Edwards. 


JUST  THREE  YEARS  AGO  I  ISSUED  THE  FOLLOWING 


^    *6z 


c*j£t£<-<^^ 


^^^O-tL^ 


"-*^c      ££<ZZ<^     t^-a^c: 


-^e-*-?> 


**-£&-&— s^cty    ^^Lcv^   ^C^-elZZ      «-</     cc      Z&L-&- 


A-Z^ — e_-e_-^g*_i_^    y^-^-v     ^ti^C-e^l     ^£*c^<*v     <2z*-****-^     /t* 


e^ 


<^«^. 


*-<f 


Since  then  nearly  four  thousand  copies  have  been  sold,  and  it  still  sells  at  the  rate  of 
four  or  five  each  day.  Sent  prepaid,  by  post,  for  $4.00,  by  all  stock  and  newsdealers,  or 
EDWARD  L.  WILSON,  Author  and  Publisher,  1125  Chestnut  Street,  Philadelphia. 


THE    PHILADELPHIA    PHOTOGRAPHER 


51 


KEEVIL'S   PATENT 

NEWTONIAN   DUPLEX  LANTERN. 

This  new  lantern  is  duplex  in  form,  being  fitted  with  one  optical  system,  projecting  in  front,  and 
another  projecting  from  one  side.  The  light  through  the  first  system  is  transmitted  on  to  the  screen 
directly,  in  the  usual  way.  At  the  extremity  of  the  other  system,  is  fixed  a  prismatic  lensf  by  which 
uieans  a  disk  can  be  projected  on  to  the  screen  central  with  the  other.  The  oxyhydrogen  jet  is  ar- 
ranged on  a  pivot,  which  is  a  fixture  in  the  bottom  of  the  lantern,  the  centre  of  rotation  being  as 
near  the  outside  surface  of  the  lime  cylinder  as  possible;  and  by  rotating  the  burner  through  about  a 
quarter  of  a  circle,  the  light  is  brought  central  with  each  condenser  alternately,  and  simultaneously 
the  mechanical  dissolver  opens  and  closes  the  objectives. 

A  Complete  Lime-Light  Dissolving  Apparatus,  most  Compact 

in  Form,  at  the  Low  Price  of  $100.00;  with  Full 

Oxyhydrogen  Accoutrements,  $130.00. 


.-I  <N  -*  rH  iH  tH 


To  compensate  for  any  loss  of  light  occasioned  by  the  use  of  the  prism,  the  condenser  of  this  system 
is  made  somewhat  shorter  in  focus  than  the  other  one,  evenness  of  illumination  being  thereby  secured. 
Both  objectives  are  made  achromatic,  and  the  definition  of  the  one  to  which  the  prism  is  attached  is 
in  no  way  inferior  to  the  ordinary  one.  The  jets  never  require  adjustment,  as  every  lantern  is  put  to 
a  practical  test  before  being  sent  out;  the  best  position  for  the  jet  being  thereby  obtained,  further  ad- 
justment becomes  unnecessary,  The  dissolving  apparatus  is  adjustable  and  very  efficient.  The  conical 
fronts  are  easily  detached,  and  if  required  it  can  be  used  as  a  single  lantern.  The  ivhole  lantern  is  of 
metal.  Its  small  dimension  are  much  in  its  favor,  the  whole  packing  into  a  small  box,  easily  carried 
in  the  hand.  These  desiderata  are  certain  to  make  it  a  favorite  with  those  who  wish  for  an  apparatus 
of  extreme  portability.     See  further  in  our  new  catalogue. 

>We  have  arranged  for  the  sole  agency  of  the  United  States,  and  have  a  stock  on  hand  and  for  sale. 
We  have  thoroughly  tried  the  new  lantern,  and  are  charmed  with  it  in  every  way.  It  is  lighted  in  a 
minute,  easily  adjusted,  and  gives  entire  satisfaction. 

SEVERAL  RECENT  IMPROVEMENTS. 
SECURED  BY  LETTERS-PATENT  IN  ENGLAND  AND  THE  UNITED  STATES. 

It  is  made  to  sit  on  any  table  or  stand,  and  full  directions  for  working  accompany  it.  Send  for  estimate  for  a  full 
outfit,  bags,  tubing,  generator,  &=c.  &°c.     Lists  of  our  new  dissolving  views  will  be  given  on  application. 


EDWARD   L.  WILSON, 


Sole  Agent  for  the  United  States. 


1125  Chestnut  St.,  Philadelphia. 


52 


THE  PHILADELPHIA  PHOTOG  EAPHEE. 


WILSON'S  LANTERN  JOURNEYS 

These  descriptions  should  be  in  the  hands  of  every  Lantern  Exhibitor  and  Lecturer.  They 
help  you  choose  slides.  They  tell  you  what  facts  and  figures  the  public  want  to  know  about  the 
places  and  things  you  exhibit.  The  contents  are  divided  into  JOURNEYS  or  selections  as  per 
list  below : 


DESCRIBES 

SLIDES 

ALL  OVER 

THE  WORLD. 


3  VOLUMES. 


VOLUME  I.  306  PAGES, 

Contains  NINE  Journeys: 

A — France  and  Switzerland. 

B — Belgium,      Germany,      Austria, 

Saxony,  and  Bavaria. 
O — Italy — Lakes,    Cities,    and    the 

Italian  Art  G-alleries. 
D — Holland,      Denmark,      Norway, 

Sweden,  Russia,  and  Spain. 
E — Egypt,  Palestine,  Syria,  Turkey, 

Greece,  and  India. 
P — England,  Scotland,  and  United 

States  of  America. 
Gr — Centennial  Exhibition,  Philada. 
H — Centennial  Exhibition,  Philada. 
I— The  Paris  Exposition,  1878. 

IN  ALL,  O  VEB  900  S  UBJECTS. 

PRICE  $2,  POST-PAID. 


DESCRIBES 

SLIDES 

ALL  OVER 

THE  WORLD 


3  VOLUMES. 


VOLUME  E.  331  PAGES, 

Contains  TWELVE  Journeys: 

J — Germany  and  Russia. 

K — Belgium  and  Austria. 

L — France — Cities  and  Provinces. 

M — Spain  and  Portugal. 

N — Switzerland — The    Pour  Alpine 

Routes. 
O — Italy,  Ischia,  and  Sicily. 
P — Turkey,  Greece,  and  Egypt. 
Q— Palestine  and  India. 
R — Scotland — Cities  and  Ruins. 
S — Ireland. 
T — England — Cities,  Museums,  and 

Ruins. 
U — United  States  of  America. 

IN  ALL,   1073  SUBJECTS. 

PRICE  $2,  POST-PAID. 


J8@~ VOLUME  III— ON  THE  ORIENT— NOW  KEADY.~@® 
PRICE  $2,  POST-PAID. 

Gives  descriptions  of  ali  the  slides  made  lay  Mr.  Edward  L.  Wilson  of  his  personally 

taken,  views  of  The  Sinai  Peninsula ;   The  Desert  of  the  Exodus ;   The 

Route  of  the  Israelites  to  the  Promised  Land;  and 

THE  TAKING  OF  PBTRA. 

NEW    LECTURES    IN    PRESS. 


by  L°irDealieers.  EDWARD  L.  WILSON,  Photo.  Publisher,  Philadelphia,  Pa. 


SEND  FIFTEEN  CENTS  FOR  NEW  CATALOGUE. 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


53 


ALL  ONE  PRICE ! 


EASTMAN'S 

RAPID,  INSTANTANEOUS, 

TROPICAL,  and  SPECIAL 

Gelatino-Bromide  Dry  Plates 

Have  all  been  REDUCED  to  one  Uniform  Price, 

AS  FOLLOWS: 


Size,  3X  x  4X, 
"4      x  5, 
"     4Xx5^, 
"     4Xx6^, 
"5     x7, 
"5      x  8, 

"     6^x8^, 
"     8      x  10, 


Per  doz.,$0  60 

90 

1  OO 

"  1  20 

1  55 

1  75 

2  30 

3  40 


Size,  10  x  12, 

"  11x14, 

"  14x17, 

"  16  x  20, 

"  17x20, 

"  18x22, 

"  20  x  24, 


Per  doz.,  $5  00 

6  50 

10  00 

16  OO 

17  00 
"          20  00 

24  00 


Discount  as  follows :  Orders  amounting  to  $50,  5  per  cent.;  over  $50, 
and  under  $100,  10  per  cent.;  over  $100,  and  under  $200,  15 per  cent. 


BEAR  IN  MIND  THAT 


THE  TROPICALS 


(  Are  the  ONLY  ONES  that  can  be 
Ksed  in  HOT  WEATHER  without 
(ICE  or  ALUM. 


ALSO,  THAT 


mTT  "P       CI  I!  "P  Pi  T  A  T    CI  (     Are  the  MOST  SENSITIVE,  MOST 
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PLATES  ever  made. 

A  Distinguished  Painter  who  has  taken  up  Amateur  Photography  says 
the  "Specials"  are  quicker  than  chain  lightning. 


-FOR  SALE  BY  ALL  DEALERS- 


SOLE  WHOLESALE  AGENT, 

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591  BROADWAY,  NEW  YORK. 


54  THE   PHILADELPHIA  PHOTOGEAPHEE. 


The  Following  is  of  Interest  to  Every  Photographer. 


THE  NEW  N.  P.  A. 

PENSE. 

We  desire  to  call  attention  to  our  NEW  PENSE  N.  P.  A.  Extra  Brilliant 
Dresden  Albumen  Paper. 

The  manufacturers  at  Rives  have  recently  many  marked  improvement  in  their 
celebrated  paper,  and  all  the  sheets  of  this  brand  are  manufactured  specially  for 
it,  and  are  readily  distinguished  from  all  other  papers  by  the  water-mark  N.  P.  A. 

It  is  doubly  albumenized  by  the  most  experienced  house  in  Germany,  with 
new  and  improved  formulas,  and  we  are  confident  that  on  trial  it  will  be  found 
superior  to  any  other  in  market. 

Its  excellence  has  induced  some  unscrupulous  persons  to  place  the 
STAMP  on  the  Paper  of  other  makers,  in  order  to  work  it  off,  trusting  that 
photographers  will  not  look  through  to  see  if  the  water-mark  is  there.  To 
prevent  this  we  have  registered  g^^This  Trade  larlnBH  in  Washington,  which  will 
subject  to  heavy  damages  all  <<^^-"  ^/</  those  who  stamp  this  brand 
on  paper  which  does  not  bear  "^  N.P.A.  ^  the  water-mark  N.  P.  A. 
This  Paper  can  be  had  also  in        DRESDEN.        PINK,  PEARL  or  WHITE. 

FOR  SALE  BY  ALL  DEALERS  IN  PHOTO.  GOODS  IN  U.  S.  AND  CANADA. 


E.  &  H.  T.  ANTHONY  &  CO., 

591  Broadway,  NEW  YORK. 

N.  B. — When  any  paper  is  offered  to  you  at  a  low  price,  Measure  it. 

Also  note  whether  it  runs  Uniform,  for  some  albumenizers  mix  the  first  and 
second  qualities,  not  discarding  that  which  has  defects,  and  thus  get  their  paper 
cheaper. 


-THE- 


HELIOTYPE  PRINTING  COMPANY 

Desire  to  draw  "the  attention  of  Photographers  and  Printers  to  their  unequalled 
facilities  for  the  production  of  all  classes  of  photo-mechanical  printing  or  print- 
ing plates.  They  have  recently  introduced  improvements  by  which  they  are 
able  to  produce  better  work  at  lower  prices,  WITH  A  LIBERAL  DISCOUNT  TO 
PHOTOGRAPHERS  AND  PRINTERS.  They  especially  draw  attention  to  their  new 
P 1X010^  CitXtSIXC  methods  by  which  the  photographic  effect  is  produced 
either  on  lithographic  stones  or  in  the  shape  of  cuts  to  print  with  type. 

Samples  and  prices  of  any  desired  class  of  work  forwarded  on  application. 

Specimen  books  on  receipt  of  25  cents. 


Our  processes  are  divided   into 

gtot0^pCex:TxattijcaI  gritxtitxg,    (pure  heliotype   and 

AUTOGLYPH.)  —  For    the    reproduction,     in     printer's   ink,  on    the  printing  press, 
of  Portraits  and  Views  from   Nature,   and   all  descriptions  of    PHOTOGRAPHIC  work. 

^\XBtO*%ithaQX&VhVi.—  For  the  reproduction  of  Artists',  Architects', 
Engineers',  Surveyors',  and   other   Drawings,  and   other  originals  in   black  and  white. 

gtabcr  gtxgraxriug  and  Zinc  %ttMuQ.—  For  the  production 

of  Cuts  to  print  with  type,   from  originals  in   black  and  white. 

^Uottt^VLUStit  ^XintitlQ.—  For  the  lithographic  reproduction  of 
photographic  subjects,   without  redrawing, 

Cg\%OtO*(&l&\%SUt  %UQVVMiUQ.—  For  the  production  of  Cuts  to 
print  with  type,  from  photographs,  brush  drawings,  and  all  subjects  in  half  tone 
or  shading,  without  redrawing  in  line. 

SittoigmpTxtt.  ]  |assec 

(&UxomB+%itli&QmpUv[.  j     a  casses 

^££££1  QXVLVLSXZX* — A  patented  process  for  the  speedy  reproduction 
(from  originals  made  with  ordinary  ink  on  ordinary  paper)  of  autograph  letters, 
sketches,  caricatures,  etc.,   either  as  cuts  or  lithographs. 

g^SigUitXg, — Artistic  designing  of  all   kinds. 


Employed  by  the  United  States  Government  in  illustrating  Scientific  and  Medical  Reports; 
by  Scientific,  Historical  and  other  learned  Societies;  by  the  leading  publishers,  and  for  illustrat- 
ing Town  and   Family  Histories,  Trade  Catalogues,  Show  Cards,  etc. 

Fac-similes  of  Medals  and  Coins,  Ancient  Manuscripts,  Paintings,  Drawings,  Sketches  and 
Autograph  Circulars,  Views  and  Portraits  from  Nature,  Medical  and  Scientific  Objects,  Antiquities, 
etc.,  etc. 

Special  attention  paid  to  the  reproduction  of  Architects',  Engineers'  and  Surveyors' 
Drawings. 


Our  establishment  is  fitted  to  produce  photo-mechanical  and  lithographic 
work,  of  all  kinds,  by  the  best  available  methods,  and  we  shall  be  pleased 
at  all  times  to  advise  on  any  work  that  may  be  required. 


THE   HELIOTYPE   PRINTING  CO., 

211  TREMONT  STREET,   BOSTON,  MASS. 

NEW  YORK  OFFICE,       .       .      .       658  BROADWAY. 
WASHINGTON  OFFICE,       .      .       29  CORCORAN  BUILDING. 


56 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


The  Blair  Tourqgraph  and  Dry  Plate  Co. 


MANUFACTURERS  OF 


PHOTOGRAPHIC  APPARATUS, 


Their  Cameras  are  Original  in  Design,  and  are  Warranted  to  be  Equal  to  the 

Best  in  the  Market,  and  are  now  too  well  known 

to  need  new  mention. 


Blair's  Reversible  Back  Combination 
Camera.  Open  for  use  and  folded  for 
carrying1. 

THEIR  COMBINATION  PORTRAIT  CAMERA, 

WITH  FLEXIBLE  SLIDE-HOLDER, 

Was  the  Admiration  of  all  the  Visitors  at  the  late  Convention. 

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Do  not  get   a   New  Camera,  but   have  our  Patent   Extension 

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Descriptive  Circulars  will  soon  to  out.  apply  for  flusn  at  your  Sealers. 


OFFICE  AND  FACTORY, 


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THE  PHILADELPHIA  PHOTOGRAPHER.      57 

Benj.  French  &  Co. 

No.  319  WASHINGTON  STREET,  BOSTON, 

Sole  Agents  in  the  United  States  for  the  Celebrated  Lenses 
Manufactured  by 

VOIGTLANDER  &  SON. 


ALSO,  THEIR  FAMOUS 


Which  is  unrivalled   for  groups,  full-length   figures,  and  other  demands  in  the 
gallery,  and  every  species  of  out-door  work,  including  instantaneous  photography. 

jg@°>  THE  EURYSCOPE  is  made  exclusively  by  Voigtlander  &  Son,  and  their 
name  is  engraved  on  the  tube. 


PORTRAITS.    HARLOT     LENSES    VIEWS. 


IMPORTERS,  ALSO,  OF  THE  CELEBRATED 

TRAPP  &  MUNCH 

ALBUMEN    PAPER, 

AND  DEALERS  IN  ALL  KINDS  OF 

Photographic  Materials  and  Magic  Lantern  Slides. 

SEND  FOR  OUR  NEW  ILLUSTRATED  PRICE  LIST  OF  LENSES. 


WHAT  IS  SAID  BY  ITS  READERS: 


We  cannot  recommend  it  too  highly  to  our  colleagues. 
— Mons.  Leon  Vidal,  Editor  of  the  Paris  Moniteur. 

The  success  of  this  latest  gem  of  photographic  litera- 
ture will,  no  doubt,  be  as  great  as  the  merit  of  the  work 
deserves.  Among  the  photographic  writers  of  America 
E.  L.  Wilson  stands  without  a  compeer. — Dr.  H.  Vogel, 
Editor  of  the  Photo.  Mitth. 

By  far  the  best  photographic  book  ever  published  in 
America.  It  is  written  with  great  elegance  and  mas- 
terly handling  of  the  subject. — Dr.  E.  Horning,  Editor 
of  Photographic  Correspondez,  Vienna. 

Would  not  be  without  one  for  triple  the  price. — 
Emmerson  Goddard,  Woonsocket,  R.  I. 

It  is  a  perfect  encyclopsedia  of  the  photographic  art 
up  to  date. — H.  L.  Bliss,  Buffalo,  N.  Y. 

Photographies  is  the  most  imposing  book  devoted  to 
photography  I  have  seen. — J.  F.  Ryder,  Cleveland. 

Photographies  looks  fine,  and  is  selling  well.  We  are 
doing  our  best  to  push  it. — W.  Irving  Adams,  N.  Y. 

The  plan  of  the  book  is  novel.  .  .  .  Mr.  Wilson  could 
hardly  fail  by  this  plan  in  making  a  useful,  and  prac- 
tical publication. — Anthony's  Bulletin,  N.  Y. 

It  is  the  very  best  text-book  upon  oar  beloved  art. — 
John  R.  Clemons,  Phila. 

I  have  inquiries  for  a  good  book  on  photography,  and 
I  think  yours  is  that  book. — John  Carbutt,  Phila. 

It  is  a  pity  you  can't  send  to  every  one  the  pages 
from  1  to  17 ;  all  would  be  sure  to  go  for  the  rest  of  it. 
— J.  H.  Hallenbeck,  New  York. 

It  is  a  complete  library. — W.  D.  Satchel,  Cinn. 

We  know  of  no  one  in  our  fraternity  more  capable  of 
compiling  such  a  work  for  the  benefit  of  the  photo- 
graphic brotherhood  than  Mr.  Wilson. — J.  H.  Fitz- 
GIBBON,  in  St.  Louis  Practical  Photographer. 

It  demands  a  position  in  the  library  of  every  photog- 
rapher, and  this  position  it  will  assuredly  attain  as 
soon  as  its  merits  become  known. — Editor  Photographic 
Times  and  American  Photographer. 

Photographies  is  my  evening  companion,  and  with  it 
the  evenings  are  very  short.  It  is  just  what  I  have 
been  wanting  for  a  long  time. — Well  G.  Singhi,  Bing- 
hampton,  N.  Y. 

It  is  a  good  work,  and  I  look  to  see  you  issue  a 
second  edition  as  soon  as  it  has  had  time  to  commend 
itself. — D.  Bachrach,  Jr.,  Bait.,  Md. 

I  consider  it  greatly  superior  to  anything  yet  pub- 
lished.— J.  B.  Leisenring,  Eort  Dodge,  Iowa. 

It  is  a  most  useful  book,  and  its  practical  teachings 
to  the  studious  photographer  contain  the  most  valuable 
information. — C.  D.  Mosher,  Chicago. 

Photographies  hits  the  nail  right  on  the  head.  I 
would  rather  have  it  than  all  the  other  books  on  pho- 
tography put  together.  The  idea  is  capital,  as  it  is 
original,  and  gives  us  the  whole  thing  in  a  nutshell. — ■ 
B.  W.  Kilburn,  Littleton,  N.  H. 


I  hope  that  every  photographer  will  see  to  it  that  his 
$4  goes  direct  to  you,  without  any  dealer's  commission 
off,  in  order  that  you  may  have  the  full  benefit  of  its 
price — -a  benefit  indeed  for  the  many  years  you  have 
played  your  part  so  carefully  upon  the  photographic 
stage  for  us. — Fred.  C.  Phillips,  St.  Thomas. 

It  is  the  most  unique  aud  powerful  work  upon  the 
subject  I  have  ever  seen. — J.  E.  Beebe,  Chicago. 

The  book  of  photography.  It  is  worth  the  price  with 
compound  interest. — P.  Kellmer,  Hazleton,  Pa. 

I  have  read  Photographies  through,  and  am  fully 
satisfied  it  is  without  a  peer  in  photographic  literature. 
To  me  it  is  invaluable. — E.  P.  Hovey,  Rome,  N.  Y. 

My  friend  and  tutor,  allow  me  to  thank  you  for  your 
noble  book,  and  may  thousands  testify  to  its  value  by 
giving  it  the  chiefest  place  in  their  library. — F.  M. 
Spencer,  Mansfield,  Pa. 

I  can  assure  you  sincerely  that  I  never  invested  $4.00 
for  reading  with  as  much  satisfaction  as  in  this  case. — 
C.  T.  Stuart,  Hartford,  Conn. 

A  short  tim3  since  I  had  the  pleasure  of  perusing 
your  new  book  Photographies.  As  a  result  I  want  it, 
and  enclose  check  for  four  dollars. — Geo.  Pine,  Trenton, 
New  Jersey. 

Of  all  the  photographic  literature  published,  this 
book  seems  the  very  best. — J.  P.  Spooner,  Stockton, 
Cal. 

I  am  very  much  delighted  with  it.  The  treatises  on 
dry-plates,  emulsions,  etc.  etc.,  are  all  very  minute  in 
detail. — J.  A.  Van  Drelzen,  Peoria,  111. 

I  think  the  Photographies  a  very  valuable  book,  one 
that  every  photographer  should  have. — K.  T.  Sheldon, 
West  Winsted,  Conn. 

It  is  the  best  book  I  ever  got  possession  of.  Those 
who  want  lightning  or  instantaneous  processes  had 
better  get  a  copy  and  work  with  pleasure.  Nothing 
like  it;  too  good  to  be  without. — Joseph  Theiring, 
Cincinnati,  Ohio. 

The  first  short  article  that  I  read  was  worth  the  cost 
of  the  book,  and  in  looking  it  over  find  it  contains  an 
inestimable  amount  of  valuable  information  which 
would  not  be  found  out  in  a  lifetime  of  practice. — E. 
F.  Burchand,  AVorthington,  Minn. 

Your  Photographies  will  supply  a  want  long  felt 
among  the  fraternity,  more  especially  among  those  like 
ourselves  who  are  "out  of  the  world,"  so  to  speak. — 
J.  R.  Hanna,  Auckland,  Australia. 

One  hundred  dollars  would  not  buy  mine  if  I  could 
not  get  another.  I  do  not  see  how  I  managed  so  long 
without  it. — Oscar  Cromwell,  Grizzly  Flat,  Col. 

Photographies  suits  me  better  than  any  similar  work 
I  have  come  across.  The  giving  of  the  experience  of 
different  workers  on  the  same  subject,  and  giving  it  in 
their  own  words,  being  an  especially  valuable  feature. 
— S.  B.  Hill,  Flemington,  N.  J. 

Your  Photographies  is  the  best  thing  out;  practical 
and  to  the  point,  and  no  nonsense. — Walt.  C.  North, 
Utica,  N.  Y. 


SALE  DON'T  STOP. 

"Will  be  mailed,  post-paid,  to  any  address,  on  receipt  of  $4.00. 

EDWARD  L.  WILSON,    Author  and  Publisher,  1125  Chestnut  Street,  Philadelphia. 


THE  PHILADELPHIA  PHOTOGEAPHEE.      59 

A  GLOW  of  PHOTOGRAPHIC  PUBLICATIONS 


The  amateur  and  his  old  friend,  the  daily  worker,  are  well  taken  care  of  in  the 
literature  line,  and  we  ask  their  attention  to  the  following  list,  which  includes 
about  everything  there  is  need  for.  There  is,  in  fact,  a  treatise  on  every  branch 
of  photography. 

The  Philadelphia  Photographer.  A  monthly  magazine,  illustrated  by  photographs  of 
superior  merit.  $5  a  year;  $2.50  for  six  months. — Stands  ahead  of  all  its  kindred.  Eighteen 
years  of  success  is  a  sufficient  guarantee  of  its  value  and  use  to  the  practical,  working,  growing 
photographer.     Do  not  go  without  its  valuable  help. 

The  Perrotyper's  Guide.  Price,  75  cents. — Cheap  and  complete.  For  the  ferrotyper 
this  is  the  only  standard  work.     Seventh  thousand. 

Pictorial  Effect  in  Photography.  By  H.  P.  Robinson.  Cloth,  #1.50;  paper  cover, 
$  1 . — For  the  art  photographer. 

"Wilson's  Photographies.  The  newest  and  most  complete  photographic  lesson-book. 
Covers  every  department.     352  pages.     Finely  illustrated.     Only  $4.     By  Edward  L.  Wilson. 

"Wilson's  Lantern  Journeys.  By  Edward  L.  Wilson.  In  three  volumes.  Price,  $2  per 
volume. — For  the  lantern  exhibitor.  Gives  incidents  and  facts  in  entertaining  style  of  about  2,000 
places  and  things,  including  200  of  the  Centennial  Exhibition. 

Bigelow's  Artistic  Photography.  Price  reduced  to  $4. — For  the  lover  of  art.  Beats 
his  "Album  of  Lighting  and  Posing."     Superb  !     With  twelve  photographs  and  instructions. 

Studies  in  Artistic  Printing.  By  C.  W.  Hearn.  Price,  $3.50. — Embellished  with  six 
fine  cabinet  and  promenade  portrait  studies. 

The  Photographic  Colorists'  G-uide.  By  John  L.  Gihon.  Cloth,  $1.50. — The  newest 
and  best  work  on  painting  photographs. 

Photographic  Mosaics,  1884.  A  year-book.  Cloth  bound,  $1 ;  paper  cover  50  cents. 
Better  than  any  of  its  predecessors. — Back  volumes,  same  price. 

The  Photographic  Amateur.  By  J.  Traill  Taylor.  A  guide  to  the  young  photogra- 
pher, either  professional  or  amateur.     Price,  50  cents. 

The  Art  and  Practice  of  Silver-Printing.  By  H.  P.  Robinson  and  Capt.  Abney, 
R.E.,  F.R.S.     Price,  50  cents.     Illuminated  cover.     Cloth  bound,  75  cents. 

How  to  Make  Pictures.  (Second  edition  of  5,000  copies.)  The  ABC  of  Dry-plate  pho- 
tography.    By  Henry  Clay  Price.     Price,  illuminated  cover,  50  cents;  cloth,  75  cents. 

Photography  with  Emulsion.  By  Capt.  W.  De  W.  Abney,  R.E.,  F.R.S.  Price,  $1 
per  copy. 

Twelve  Elementary  Lessons  in  Dry-plate  Photography.  Price,  25  cents  per 
copy. 

The  Modern  Practice  of  Retouching.     Price,  50  cents  per  copy. 

The  Spanish  edition  of  How  to  Make  Pictures.  Ligeras  Lecciones  sobre  Fotografia 
Dedicados  a  Los  Aficionados.     Price,  $1  per  copy. 

The  Progress  of  Photography  Since  1 879.  By  Dr.  H.  W.  Vogel.  A  splendid  helper 
to  all  workers.     Price,  $3. 

Picture  Making.     By  H.  P.  Robinson.     Cloth,  #1.     Paper,  50  cents. 

All  orders  for  above  will  be  filled,  free  by  post,  on  receipt  of  price  at  the 
office  of  this  magazine. 

EDWARD  L.  WILSON,  Photo.  Publisher,  1125  Chestnut  St.,  Phila. 


60 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


SAVE  PHOTOGRAPHS 


UNDERWOOD'S 

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ARTISTIC  PHOTOGRAPHY, 

AND  HOW  TO  ATTAIN  IT. 

By    LYMAN    G.    BIGELOW. 


Owing  to  the  ready  sale  of  the  first  edition,  we  are  enabled  to  produce  the  new  one  at  less 
cost,  and  now  at  a  REDUCED  PRICE,  $4.00,  we  are  enabled  to  place  it  within  the 
reach  of  everybody. 

EXAMINE  THE  CONTENTS. 


KEADING  MATTEE. 

I.  Introductory. 
II.  Artistic  Light. 

III.  Balance  of  Lines. 

IV.  Chiaro-oscuro. 
V.   Backgrounds  and  Accessories. 

VI.   Composition,  Rules,  and  Maxims. 
VII.    The  Studio. 
VIII.  FormulcB  well  proved  and  used  by  the 
author  in  producing  the  work  em- 
ployed to  illustrate  his  book. 
IX.  Printing  and  toning  formulae . 

Together  with  a  plan  of  Mr.  Digelow's  skylight. 
$@ST  A  fine  lot  of  studies  and  capital  instructions  for  producing  them. 

EDWARD  L.  WILSON,  Photo.  Publisher,  1125  Chestnut  St.,  Phila. 


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1 .  Cloud  Portrait. 

2.  Cabinet  Medallion  of  a  lady. 

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4.  Proj?ienade,  lady  {interior). 

5.  Promenade,  lady  (moonlight). 

6.  Cabinet,  gentleman  [bust). 

7.  Cabinet,  lady  (f  length). 

8.  Cabinet,  lady  (bust). 

9.  Cabinet,  lady  (f  length). 

10.  Prometiade,  group. 

1 1 .  Promenade,  group. 

12.  Promenade,  seaside. 


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62      THE  PHILADELPHIA  PHOTOGKAPHEK. 

@ TH  E y 

PROGRESS  OF  PHOTOGRAPHY 

FROM     1879    TO     1884. 
By  DR.  H.  W  VOGEL, 

Professor  and  Teacher  of  Photography  and  Spectrum  Analysis  at  the  Imperial 

Technical  High  School. 


1ST  0^7^    READY. 

A  Review  of  the    more   Important   Discoveries   in 

Photography  and  Photographic  Chemistry 

within  the  Last  Four  Years. 

READ    WHAT    HE    SAYS    ON 

EMULSION   PHOTOGRAPHY, 

AND 

THE  CHAPTER  ON  PHOTOGRAPHY  FOR  AMATEURS. 

INTENDED  ALSO  AS  A  SUPPLEMENT  TO  THE  THIRD  EDITION 
OF  THE  HANDBOOK  OF  PHOTOGRAPHY. 

Revised  by  EDWARD  L.  WILSON,  Editor  Philadelphia  Photographer. 
Translated  from  the  German  by  ELLERSLIE  WALLACE,  Jr.,  M.D. 


S3.00.  347    PAGES.  $3.00. 

With  Seventy-two  Illustrations,  and  an  admirable  portrait  taken  ivith 
Electric  Light,  by  W.  Kurtz,  New  York.^ 

(SEE  OPPOSITE  PAGE.) 


THE    PHILADELPHIA    PHOTOGRAPHER. 


63 


VO  GEL'S 


Progress  in  Photography. 


CONTENTS 


CHAPTER  I. 
PHYSICAL  EFFECTS  OF  LIGHT. 

CHAPTER  II. 
CHEMICAL  EFFECTS  OF  LIGHT. 

A.  Effects  of  Light  upon  Metalloids  and  their 

Compounds. 

B.  Effects    of  Light  upon  Metals  and   their 

Compounds. 
The  Double  Salts  of  Iron  and  Oxalic  Acid. 
The  Iron  Lichtpaus  Process. 
Actinium,  a  new  Metal. 
Salts  of  Copper. 
Salts  of  Chromic  Acid. 
Combinations  of  Mercury. 
Platinum  Printing. 
The  Salts  of  Silver. 

The  Various   Modifications  of  Bromide  of 
Silver  and  the  Chemical  Principles  of  the 
Emulsion  Process. 
Photo-chemistry  of  Chloride  of  Silver. 
"Rare  Salts  of  Silver. 

CHAPTER  III. 

PHOTOGRAPHIC  CHEMISTRY. 

Different  Forms  of  Pyroxyline, 
Concerning  the  Characteristics  of  Gelatine. 

CHAPTER  IV. 
PHOTOGRAPHIC  OPTICS. 

New  Objectives. 

Artificial  Light  and  its  Application  to  Pho- 
tography. 
Chemical  Photometers. 

CHAPTER  V. 
PHOTOGRAPHIC  APPARATUS. 

Cameras,  Changing-boxes,  and  Tripods. 
Instantaneous  Shutters. 


CHAPTER  VI. 

THE  NEW  PHOTOGRAPHIC 
PROCESSES. 

A.  New  Negative  Processes  (Dry  Processes). 
Pieparation  of  Gelatine  Emulsion. 

a.  The  Author's  Method. 

b.  Eder's  Method  with  Ammonio-nitrate 

of  Silver. 

c.  Eder's  Combination  Method  with  the 

Author's  Modification. 

d.  Eder's  New   Method  with  Carbonate 

of  Ammonia. 

e.  Precipitation  Methods. 

f.  Vogel's  Emulsion. 

B.  The  Manipulation  of  the  Gelatine  Plates. 

1.  Gelatine  Plates. 

a.  The  Exposure. 

b.  The  Development. 

c.  The  Fixing. 

d.  The  Intensifying. 

e.  The  Drying  and  Finishing. 

2.  Vogel's  Emulsion  Plates. 

3.  Failures  in  Gelatine  Plates. 

4.  Notes  on  the  Gelatine  Process. 

C.  New  Positive  Processes. 

1.  The  Platinum  Processes  (Platinotype). 

2.  New  Silver  Printing  Processes. 

3.  New  Enlargement  Processes  and  Appa- 

ratus. 

4.  New  Permanent  Printing  Processes. 

CHAPTER  VII. 

PHOTOGRAPHIC  AESTHETICS  AND 
PORTRAIT  TECHNIQUE. 

CHAPTER  VIII. 
PHOTOGRAPHY  FOR  AMATEURS. 


$3.00 P  RI C  B $3.00 


MAILED  OJT  RECEIPT  OF  PRICE,  BY 

EDWARD  L.  WILSON,  1125  Chestnut  St.,  Philadelphia. 


64 


THE  PHILADELPHIA  PHOTOGRAPHEE. 


DEALERS'  DIRECTORY. 


The  following  houses  are  to  be  recommended  as 
the  best  for  photographers  in  their  localities. 

+ + 


S.  T.  BLESSING, 

New  Orleans, 

La. 


THE 

BEST  BOOK 


IS 


SMITH  &  PATTISON, 

83  &  85  Wabash  Ave. 
Chicago. 


H.  A.  HYATT, 

Mound  City  Photo,  Stock  House, 

8th  and  Locust  Sts., 

St.  Louis,  Mo. 


WILSON'S 

PHOTOGRAPHICS, 

$4.00. 


D.  J.  RYAN, 

Savannah, 

Ga. 


WILL  IANFG  CO, 

423  Broome  St., 
New  York. 


D.  TUCKER  &  CO., 


Buffalo, 


N.  Y. 


BLESSING  &  BKO, 

Galveston, 

Texas. 


C.H.CODMAN&CO. 

Boston,  Mass. 


WILSON,  HOOD  &  CO., 

825  Arch  Street, 
Philadelphia,  Pa. 


B.  FRENCH  &  CO. 

Boston,  Mass. 


BUCHANAN, SMEDLEY 
&  BEOILET, 

25  N.  Seventh  St., 

Philadelphia. 


EDWARD  L.  WILSON, 

Photo.   Publisher, 
LANTERN  SLIDES, 

1 125  Chestnut  St., 

Philadelphia. 


IULLETT  BROS. 

Kansas  City, 
Mo. 


OSCAR  FOSS, 

San  Francisco, 
Cal. 


E.&H.T.ANTHONY&CO. 

591  Broadway, 

New  York. 


SHEEN  & SIMPKISON, 


Cincinnati, 

Ohio. 


•+ 


THE 


§PkiMel|rkia  §Jk0t0jjn*pkM, 

EDITED    BY    EDWARD    L.    WILSON. 


Vol.  XXII. 


MARCH,   1885. 


No.  255. 


PHOTOGRAPHY  AT  THE  NEW 
ORLEANS  EXPOSITION. 

If  we  are  slow  in  giving  our  readers  the 
promised  list  of  the  photographs  of  the  Ex- 
position, we  trust  we  shall  not  be  censured 
for  a  delay  caused  entirely  by  a  power 
higher  than  we.  Too  much  has  been  said 
about  the  embarrassments  of  the  manage- 
ment to  leave  any  one  in  ignorance  concern- 
ing it. 

The  photographic  department,  among 
other  interests,  suffered  from  the  aforesaid 
embarrassments,  and  its  ready  and  willing 
Superintendent  had  to  defer  hope  for  some 
weeks  before  he  could  carry  out  his  am- 
bitious desires  to  see  our  art  well  presented. 
First,  none  of  the  promised  uprights  for 
hanging  was  supplied.  Then,  after  they 
were  placed,  no  covering  was  forthcoming 
for  them. 

Advice  was  asked  from  some  of  the  ex- 
hibitors, which  was  answered  by  a  contribu- 
tion of  twenty-five  dollars  from  Messrs.  A. 
M.  Collins,  Son  &  Co.,  Philadelphia,  and 
another  of  the  same  amount  from  Messrs. 
E.  &  H.  T.  Anthony  &  Co.,  New  York, 
both  of  whom  are  exhibitors,  and  who  were 
prompted  to  make  their  contributions  by 
their  interest  in  the  profession,  and  a  desire 
to  see  the  photographic  exhibit  so  placed  as 
would  inure  to  the  credit  of  all  interested. 
Is  it  not  delightful  to  know  that  we  have 
such  warm  friends  in  our  business  always 


so  ready  to  give  a  helping  hand?  We  be- 
lieve there  are  others  who  will  follow  them. 

Now  the  hammer  is  actively  at  work 
again,  and  at  this  writing  the  exhibit  is 
rapidly  drawing  to  completion.  Our  read- 
ers, rest  assured,  shall  know  all  about  it, 
and  have  some  sketches  from  it.  Indeed, 
through  the  kindness  of  Mr.  John  Durkin, 
the  talented  artist  of  Harper's  Weekly,  we 
are  enabled  even  now  to  give  pen  drawings 
of  some  of  the  pictures  on  exhibition. 

The  first  of  these  is  from  a  14  x  17  trans- 
parency, one  of  a  magnificent  collection,  by 


Mr.  John  A.  Scholten,  of  St.  Louis.  The 
group  is  lovely  in  pose  and  lighting,  and, 
in  our  opinion,  the  gems  of  Mr.  Scholten's 
collection,  though  by  no  means  the  most 
pretentious. 

We  all  know  that  the  only  thing  that 
makes  us  feel  repaid  for  our  trouble  in  care- 


66 


THE   PHILADELPHIA    PHOTOGRAPHER, 


fully  developing  our  plates ;  the  only  thing 
that  heartily  responds  and  answers  back  to 
our  desires,  is  a  glass  transparency.  It  gives 
us  all  we  can  see  in  our  negatives,  and  some- 
times a  little  more.  To  say,  then,  that  Mr. 
Scholten's  collection  of  transparencies  is  ex- 
quisite is  only  faint  praise.  There  is  nothing 
here  to  equal  it.  The  positives  are  on  dry 
plates,  made  by  Mr.  G-.  Cramer,  St.  Louis, 
who  chooses  thus  to  make  his  exhibit  in 
conjunction  with  his  friend,  fellow-citizen, 
and  amiable  co-worker.  Long  may  they 
live  to  delight  us  with  such  treasures.  We 
shall  refer  to  them  again. 

The   second   drawing   is   of   a   Mexican 
water  carrier,  from   the  collection  of  Mr. 


I:;. 


Wm.  H.  Jackson,  of  Denver,  Colorado,  to 
which  we  have  before  alluded.  It  is  one 
of  the  large  collection  of  gems  collected  by 
our  talented  friend  during  his  recent  visit 
to  the  land  of  the  Montezumas,  and  could 
scarcely  be  more  picturesque.  Mr.  Durkin 
has  preserved  the  drawings  of  the  original 
with  consummate  skill. 

From  the  collection  of  Mr.  I.  W.  Taber, 
San  Francisco,  which  hangs  next  to  that  of 
Mr.  Jackson,  Mr.  Durkin  has  selected  a 
view  of  Castle  Rock,  on  the  Columbia 
Eiver,  Oregon.  It  is  magnificent,  and  well 
worthy  of  careful  study. 

Unconsciously,  in  the  trio  selected,  we 
have  chosen  subjects  which  the  readers  of 
chapters  of  Photographies  will  recognize  as 
representing  the  three  great  forms  of  com- 


position— i.  e. ,  the  diagonal,  the  pyramidal, 
and  the  circular. 


While  directing  the  "hangmen  "  on  the 
day  of  this  writing,  we  were  much  charmed 
by  the  amateur  exhibit;  but  of  this  and 
many  other  novelties,  more  anon. 

The  United  States  Government,  in  its 
building,  makes  great  use  of  our  art.  One 
of  its  newest  applications  has  been  to  the 
study  of  craniology,  by  means  of  the  "com- 
posite" photograph  process,  suggested  some 
time  ago  by  Mr.  Francis  Galton,  of  Eng- 
land. The  experiments  were  made  by  Sur- 
geon John  S.  Billings,  U.  S.  A.,  Curator  of 
the  Army  Medical  Museum.  The  plan,  as 
you  have  already  surmised,  is  to  make 
negatives  of  several  cranise,  of,  say,  the 
same  tribe  of  Indians,  and  then  print  them 
one  over  the  other.  Some  exceedingly  in- 
teresting results  are  shown,  as  will  be  well 
understood  from  the  partial  list  which  I 
give  below : 

List  of  Composite  Photographs  of  Crania 
from  Army  Medical  Museum. 

Nos.  1,  2,  3,  4,  and  5  were  prepared  by 
the  ordinary  wet  process,  with  strong-work- 
ing collodion,  under  an  exposure  of  seventy 
seconds  to  each  cranium. 

Nos.  6  to  18  inclusive  were  taken  on 
Beebe's  gelatine  dry  plate.  The  exposure 
of  each  cranium  in  Nos.  6  to  13,  and  No. 
16,  was  three  seconds ;  in  JSTos.  14  and  15, 
only  one  and  a  half  seconds;  in  Nos.  17 
and  18,  one  second. 

No.  1.  Composite  photograph  of  seven 
adult  male  Esquimaux  skulls,  side  view. 


THE    PHILADELPHIA    PHOTOGKAPHEE. 


67 


No.  2.  Composite  photograph  of  seven 
adult  male  Esquimaux  skulls,  front  view. 

No.  3.  Composite  photograph  of  seven 
adult  male  Sandwich  Islanders'  skulls,  side 
view. 

No.  4.  Composite  photograph  of  seven 
adult  male  Sandwich  Islanders'  skulls,  front 
view. 

No.  5.  Composite  photograph  of  seven 
adult  male  Sioux  Indian  skulls,  front  view. 

No.  6.  Composite  photograph  of  seven 
adult  male  negro  skulls,  side  view. 

No.  7.  Composite  photograph  of  seven 
adult  male  negro  skulls,  front  view. 

No.  8.  Composite  photograph  of  seven 
adult  male  Apache  Indian  skulls,  front  view. 

No.  9.  Composite  photograph  of  seven 
adult  male  Apache  Indian  skulls,  side  view. 

No.  10.  Composite  photograph  of  eight 
adult  male  Ponca  Indian  skulls,  side  view. 

No.  11.  Composite  photograph  of  eight 
male  adult  Ponca  Indian  skulls,  front  view. 

No.  12.  Composite  photograph  of  seven 
adult  male  white  skulls,  front  view. 

No.  13.  Composite  photograph  of  seven 
adult  male  white  skulls,  side  view. 

No.  14.  Composite  photograph  of  eighteen 
adult  male  Cheyenne  Indian  skulls,  front 
view. 

No.  15.  Composite  photograph  of  eighteen 
adult  male  Cheyenne  Indian  skulls,  side 
view. 

No.  16.  Composite  photograph  of  seven 
adult  male  Sandwich  Islanders'  skulls,  base 
view. 

No.  17.  Composite  photograph  of  seven 
adult  male  Sioux  Indian  skulls,  base  view. 

No.  18.  Composite  photograph  of  seven 
adult  male  Sioux  Indian  skulls,  side  view. 

We  shall  not,  however,  secure  negatives 
of  these  antique  skulls  for  our  picture. 
Micro-photography  and  photo-micrography 
are  also  largely  represented  by  our  Govern- 
ment. 

To  speak  of  the  uses  made  of  photography 
by  the  Exposition  management  and  by  ex- 
hibitors, etc.,  would  be  to  fill  many  pages. 

The  superb  moresque  building  being 
erected  near  the  printing  windows  of  the 
Centennial  Photographic  Company  has  been 
photographed  every  Monday  since  the  last 
of  November.  One  set  of  prints  goes  to  the 
Director-General,  and  a  second  series  to  the 


contractors  and  founders,  the  Keystone 
Bridge  Company,  Pittsburg,  Pa.  The  lat- 
ter are  thus  enabled  to  direct  the  artisans, 
Mexican  and  American,  who  are  yet  busy 
constructing  the  building. 

A  motley  crew  of  all  nationalities  has 
poured  into  the  Centennial  Photograph 
Company's  studio  lately  by  the  thousand 
for  photographs  for  their  passes.  It  was  a 
sight. 

We  are  making  some  interesting  experi- 
ments with  electric  light  photography  here 
with  marvellous  results.  Eecord  shall  be 
presented  concerning  them  presently. 

Do  not  come  down  here  if  you  expect  to 
die  soon.  They  huddle  one  into  the  above- 
ground  sepulchres  astonishingly  quick, 
merly  tacking  a  notice  of  your  demise  and 
funeral  to  the  telegraph  poles  nearest  your 
last  breathing  place.     Here  is  an  example  : 

"Died,  on  Sunday,  at  7.30  p.m.,  John 
Felix  Voisin,  aged  fifty-three  years.  The 
friends  of  the  Yoisin,  Livaudais,  Charle- 
ville,  and  Trudeau  families  are  invited  to 
attend  the  funeral  from  his  late  residence, 
corner  Valence  and  St.  Charles  Avenue,  at 
four  o'clock,  this  Monday  evening,  Febru- 
ary 2,  1885." 

A  funeral  suggests  bells.  While  I  write 
the  old  Liberty  Bell  is  near  me,  guarded 
by  that  trio  of  giant  policemen,  Sergeant 
Edward  W.  Malin,  and  officers  John  Patton 
and  Thomas  Neuman.  It  was  received 
with  great  ceremony,  and  was  abundantly 
photographed  all  along  the  route.  And 
now  good-bye  until  soon  again. 


DEVELOPERS— OXALATE  OR 
PYRO? 


BY    WILLIAM    BELL. 


It  has  been  said  that  all  makes  of  plates 
ought  to  be  able  to  be  developed  by  one's 
favorite  developer  (it  being  a  good  one). 
Many  do  not  follow  makers'  instructions. 
One  would  suppose  that  the  manufacturer 
publishes  the  developer  that  suits  his  plates 
best.  Operators  think  and  act  otherwise, 
and  often  condemn  plates  because  they  do 
not  get  results  hoped  for,  whereas  fine  re- 
sults would  have  been  obtained  had  makers' 
instructions  been  followed.  Experience  has 
taught  the   writer  that  the  developer  that 


68 


THE  PHILADELPHIA  PHOTOGEAPHEE. 


comes  nearest  to  a  standard  developer  is  the 
ferrous  oxalate.  All  makes  of  plates  in  his 
hands,  with  this  developer,  have  given  fine 
results,  and  he  has  come  to  the  conclusion 
that  the  only  plate  that  can  he  called  a 
"had  plate"  is  one  that  cannot  be  devel- 
oped by  ferrous  oxalate  (^provided  always, 
that  proper  exposure  has  been  given,  and 
the  developer  properly  restrained  with  citric 
acid  and  bromide).  In  giving  lessons  to 
begin  I  always  teach  the  use  of  ferrous  ox- 
alate, as  by  its  use  it  simplifies  my  labor, 
and  the  student  progi"esses  quickly  and  ac- 
quires skill.  I  will  give  an  instance  wherein 
had  I  not  used  it  I  should  have  had  to  con- 
demn plates  furnished  by  a  well-known  and 
successful  manufacturer  to  an  amateur. 
Both  pyro  and  ammonia  and  ferrous  ox- 
alate developers  accompanied  said  plates. 
Before  my  arrival  at  his  residence,  the 
amateur  had  the  pyro  and  ammonia  care- 
fully compounded  by  a  chemist.  "We  ex- 
posed No.  1  plate  on  street  view,  sunshine, 
twenty  seconds  (the  plates  had  not  been 
issued  as  rapid  ones).  Development  com- 
menced as  per  directions ;  some  minutes 
passed ;  no  sign.  What  do  you  do  in  this 
case  ?  Exposure  too  short ;  need  of  more 
ammonia  in  developer;  but  we  must  be 
very  careful  or  we  will  raise  up  the  "  veil." 
"What's  that?  Why,  green  fog.  Never 
heard  of  a  green  fog  ;  it's  something  new  to 
me,  says  the  beginner.  Ammonia  and  bro- 
mide were  added  by  drops  at  intervals.  It 
was  only  until  four  times  the  amount  the 
directions  called  for  that  the  image  began  to 
show,  and  six  times  the  amount  was  used 
before  development  was  finished.  Plate 
was  washed  and  fixed  and  brought  out  to 
white  light  for  inspection.  Green  fog,  ren- 
dering the  plate  useless.  Explanation  to 
student:  too  short  an  exposure;  too  much 
ammonia  used  in  developing.  Try  again. 
No.  2  exposed  thirty  seconds;  developed; 
same  results  as  No.  1  plate.  Advised  the 
use  of  ferrous  oxalate  ;  it  was  compounded. 
No.  3  plate  exposed  10  seconds ;  developed 
with  ferrous  oxalate,  well  restrained,  but 
the  plate  was  so  overtimed  it  was  useless. 
No.  4  plate  exposed  12  seconds ;  same  de- 
veloper used.  Kesult:  excellent  negative, 
good  density,  time,  clear  shadows,  also 
color.      This    ended    instructions    on    that 


day.  On  second  visit  to  same  party  the  re- 
mainder of  the  plates  were  exposed  five  to 
fifteen  seconds  (according  to  subject),  de- 
veloped with  ferrous  oxalate,  and  excellent 
results  obtained.  Here  was  a  stock  of  plates 
hat  pyro  and  ammonia  could  not,  and  did 
not,  develop,  and  yet  with  the  ferrous  ox- 
alate gave  negatives  that  made  it  a  pleasure 
to  expose  them.  The  demand  for  extra 
rapid  plates  that  will  develop  without  the 
use  of  a  restrainer  is  so  great  that  a  really 
good  plate  is  often  condemned  because  it 
does  not  give  the  results  it  would  have 
given  had  a  restrainer  been  used.  To  me  it 
is  the  same  as  to  try  to  use  the  protosulphate 
of  iron  developer  without  using  acetic  acid  ; 
for  both  plates  negatives  have  been  obtained 
without  its  use,  and  with  very  short  expo- 
sures, but  they  had  very  little  printing 
qualities.  In  a  prominent  gallery  here  I 
saw  a  favorite  plate  developed,  and  the 
user  praised  it  highly.  No  bromide  or 
citric  (pyro,  sulphite,  and  soda  was  the  de- 
veloper). The  negative  seemed  perfection. 
Calling  at  the  same  place  at  another  time, 
saw  plates  developed  (pyro,  bromide,  and 
ammonia  developer).  "  Is  this  the  plate 
you  used  when  I  was  here  before  ?"  "Oh, 
no;  this  is  an  English,  Birmingham.  Eng- 
land, plate."  "Why,  I  thought  you  liked 
the  other  plate  so  well?"  "  So  I  did;  but 
they  do  not  always  come  the  same — thin, 
no  body.  Now,  these  Birmingham  ones 
are  so  round  and  full  of  detail."  I  firmly 
believe  that  had  the  pyro,  sulphite,  and 
soda  been  used  with  a  restrainer,  and  a 
trifle  more  time  given,  that  the  favorite 
plate  would  have  been  as  round  and  full  of 
detail  as  the  foreign  plate. 

I  have  been  led  to  these  remarks,  as  I 
have  devoted  time  and  money  to  endeavor 
to  make  emulsions  of  uniform  quality  and 
developable  with  any  published  formula 
that  photographers  are  more  conversant 
with,  and  do  produce  plates  that  develop 
with  most  of  them,  but  very  seldom  with 
the  developer  without  a  restrainer,  and  I 
judge  that  the  prominent  manufacturers  of 
the  country  will  coincide  with  me,  viz.  : 
that  all  plates  can  be  developed  with  ferrous 
oxalate,  bromide,  and  citric  acid  restrainer, 
but  not  always  with  pyro,  no  matter  what 
alkali  be  used  unrestrained. 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


69 


WHAT  IS  A  "STUDY?" 

Sometimes  it  takes  a  great  deal  of  the 
"King's  English  "  to  express  an  idea,  and 
at  other  times  we  find  a  single  word  as  full 
of  meaning  as  the  Arabic  word  "  Tyeb  " 
(good). 

Such  is  the  case  with  the  significant  word 
"  studies."  In  commenting  upon  the  lovely 
pictures  of  our  good  friend,  Mr.  H.  P. 
Kobinson,  in  our  January  issue,  we  called 
them  "studies."  For  this  we  have  been 
"  wondered "  at,  good  naturedly,  by  the 
talented  master,  who  writes  as  follows : 

Tunbridge  Wells,  Eng., 
January  24, 1885. 

My  Dear  Sir  :  I  am  much  obliged  for 
the  copies  of  the  Photographer  you  have 
been  so  kind  as  to  send  me.  The  pictures 
have  been  admirably  copied,  and  look  very 
well,  and  I  cannot  help  feeling  much  flat- 
tered by  the  very  kindly  notice  you  have 
written  of  them. 

It  is  not  a  matter  of  much  consequence, 
but  I  wonder  why  you  called  the  pictures 
"studies."  They  are  not  studies  for  any- 
thing. My  intention  was  (and  I  thought  I 
had  succeeded  as  far  as  the  art  will  allow) 
to  make  complete  pictures.  A  study  is,  in 
art,  a  preliminary  sketch,  or  part  of  a  whole. 
The  pictures  are  a  result  of  study,  but  not 
studies  in  themselves.  In  another  way  the 
word  study  is  used  as  an  excuse  for  not 
doing  your  best.  Whether  I  succeed  or 
not,  I  always  do  my  best. 

I  have  the  Photographer,  and  am  glad 
to  see  it  keep  up  its  character.  It  is  cer- 
tainly the  best  of  the  American  journals. 
One  reason  is,  that  it  is  not  so  full  of  bare- 
faced puffing  as  the  other  journals.  How 
Americans  believe,  as  they  must,  so  much 
in  advertisements  and  crude  puffings,  not 
even  slightly  wrapped  up,  puzzles  me. 
You  must  be  a  simple  people. 

I  hope  you  will  make  a  success  of  the 
New  Orleans  Exposition.  Thank  you  for 
sending  my  pictures  there. 

Yours,  very  respectfully, 

H.  P.  Kobinson. 

"We  can  readily  understand  Mr.  Robin- 
son's views  from  his  standpoint,  but  the 
good-natured,  generous  man  has  forgotten 
to  view  the  matter  from  our  standpoint,  as 


the  editor  of  what  we  like  to  call  an  educa- 
tional magazine. 

Mr.  Worcester,  in  his  compact  volume, 
defines  a  "study,"  among  other  definitions, 
as  follows : 

"  4.  Subject  of  study  or  attention. 

"6.  (Fine  Arts).  A  finished  sketch  from 
nature,  generally  intended  to  aid  in  the 
composition  of  a  larger  and  more  important 
work,  or  as  a  memorial  of  some  particular 
object  for  future  use,  or  to  facilitate  drawing 
or  composition." 

Now,  our  standpoint  is  according  to  No. 
4,  and  Mr.  Robinson's  a  "study"  from 
No.  6. 

We  offer  the  pictures  in  our  magazine 
always  as  helpers,  as  educators  to  the  fra- 
ternity photographic ;  therefore,  they  are 
to  us,  and  become  to  our  readers — "  studies." 

To  the  gentlemen  who  produce  them,  and 
especially  to  the  master  to  whom  we  so  often 
take  off  our  hat,  they  are  not  "  studies,"  but 
most  assuredly  "  finished  "according  to  Wor- 
cester, though  that  great  sage  knew  nothing 
of  modern  photography.  And,  neverthe- 
less, we  do  not  believe  our  good  friend  ever 
made  one  of  his  admirable  compositions 
without  feeling  that  they  were  to  "  facili- 
tate "  in  the  very  way  we  hoped  for  when 
offering  them  to  our  readers  as  "studies." 

We  know  we  have  his  pardon,  as  he 
would  not  use  such  graceful  words  concern- 
ing our  magazine. 

We  can  only  say,  as  to  that,  oh,  thanks, 
they  are  only  "  studies,"  and  may  our  work 
continue  for  a  long  time  to  serve  as  such  in 
behalf  of  the  most  wonderful  art  on  the  face 
of  the  earth. 


GERMAN  CORRESPONDENCE. 

Whiteall's  Sensitizer — Hypo  as  a  Resensi- 
tizer — Photography  at  Night — Notices  of 
Isochromatic  Processes 

As  long  as  I  have  been  engaged  in  pho- 
tography, men  have  been  zealous  in  their 
attacks  of  secret  processes ;  but  the  evil 
has  not,  for  all  that,  been  eliminated.  Year 
in  and  year  out  new  secret  processes  emerge, 
and,  though  totally  worthless,  are  well  paid 
for.  To  this  class  belongs  that  of  Prof. 
Whiteall's  sensitizer,  which,  strange  to  say, 
has  been  brought  into  commerce,  not  by  an 


70 


THE    PHILADELPHIA    PHOTOGRAPHER 


English  firm,  but  by  a  French  firm.  It 
costs  three  dollars  per  litre.  It  is  a  fluid, 
and  the  plate  is  to  be  dipped  in  it,  by  which 
means  the  sensitiveness  is  said  to  be  in- 
creased threefold.  To  such  a  boon  would 
every  photographer  turn  with  pleasure,  if 
such  a  degree  of  sensitiveness  were  to  be 
obtained,  for  a  threefold  sensitiveness  of  our 
European  plates  would  be  an  inestimable 
treasure  for  the  dark  days  of  our  winter 
weather.  After  exposure,  which  may  be 
reduced  one-third,  the  plates  are  dipped 
into  the  solution  contained  in  a  shallow 
dish  of  porcelain  or  rubber.  After  thirty 
seconds— during  which  time  the  developer 
may  be  prepared — the  plates  are  taken 
out  carefully  and  drained  off,  washed  on 
both  sides,  and  developed  as  usual.  The 
image  appears  immediately.  "White  specks, 
which  present  themselves  at  first,  gradually 
disappear.  Care  must  be  taken  not  to 
suffer  the  plate  to  remain  too  long  in  the 
developer,  or  it  will  become  too  intense. 
Now  I  resolved,  in  the  first  place,  to  deter- 
mine whether  the  fluid  had  these  virtues. 
Accordingly  two  plates  were  exposed  at  the 
same  time  in  a  stereo  camera,  and  equally 
lighted  and  exposed ;  one  three,  the  other 
nine  seconds.  The  short  exposure  was  sub- 
jected, according  to  directions,  to  the  sensi- 
tizer, and  both  plates  uniformly  developed 
with  ferrous  oxalate.  It  is  true  that  the  short 
exposed  plate  came  up  very  rapidly  long 
before  any  sort  of  an  image  could  be  seen 
upon  the  long  exposed  plate,  but  the  de- 
velopment stopped  short  with  the  short  ex- 
posure— that  is,  no  further  detail  could  be 
evolved ;  but  upon  the  other  plate  the 
image  showed  itself  gradually,  and  the  de- 
tails built  up  slowly  but  fully  ;  so  that,  at 
the  conclusion  of  the  development,  the  de- 
tails in  the  shadows  were  far  in  excess  of 
the  under-toned  sensitized  plate,  although 
this  latter  remained  alongside  the  fully 
timed  one  in  the  developer  all  the  time. 
The  experiment  was  repeated,  and  with  the 
same  results:  the  sensitized  plate  develop- 
ing rapidly ;  the  other  slowly,  but  showing 
greater  detail ;  so  that  the  boasted  increase 
of  sensitiveness  is  not  worth  speaking  of. 
Now  I  tried  the  other  plates  in  the  same 
manner,  with  five  and  ten  seconds  exposure, 
the  one  with  five  seconds  exposure  being 


treated  to  a  bath  of  the  sensitizer.  The 
results  were  the  same  as  with  the  former 
experiments — that  is,  the  sensitized  plate 
rendered  the  impressed  image  more  rapidly 
than  the  other ;  but  the  latter  gave  much 
more  detail  in  the  shadows.  Moreover,  the 
sensitized  plate  always  showed  a  light  fog. 
It  follows,  therefore,  that  the  sensitizer  does 
not  increase  the  sensitiveness  even  double. 
I  next  tried  the  experiment  of  developing 
the  sensitized  plate  without  washing  the 
sensitizer  first;  the  result  was  just  the 
same.  I  next  went  into  an  investigation 
of  the  nature  of  the  fluid.  It  had  an  odor 
resembling  acetic  acid  and  thyme  oil,  gave 
no  precipitate  with  sulphuretted  hydrogen  ; 
with  sulphide  of  ammonia  a  slight  precipi- 
tate, and  showed  with  nitrate  of  silver  a 
reaction  which  was  very  striking.  A  pre- 
cipitate was  formed,  first  white,  then  yellow, 
then  brown,  then  black.  This  phenomenon 
indicated  a  hyposulphite  salt.  The  thought 
occurred  that  we  had  here  to  do  with  a  weak 
solution  of  hyposulphite  of  soda.  Indeed, 
the  fluid  discolored  the  iodine  solution,  so 
that  1  ccm.  of  the  iodine  (1 :  150)  needed 
65  ccm.  of  the  Whiteall  solution,  In  spite 
of  this  striking  reaction,  there  was  no  proof 
of  any  trace  of  hypo,  for  there  was  no  tur- 
bidity or  heating  with  an  acid,  as  is  the 
case  with  dilute  solutions  of  hypo.  Evapo- 
ration of  the  fluid  gave  a  small  quantity  of 
an  amorphous  deposit,  which  had  no  resem- 
blance to  hypo. 

The  more  striking  was  the  resemblance 
to  hypo  with  the  development.  A  solution 
of  hypo  (1-1000)  was  made  without  the  ad- 
dition of  an  acid,  and  used  as  above.  The 
result  was  that  the  image  appeared  j  ust  as  rap- 
idly and  with  just  about  the  same  amount  of 
detail  as  with  the  use  of  the  Whiteall  liquid, 
but  there  was  a  tendency  on  the  plate  towards 
a  positive  in  the  shadows.  At  any  rate,  we 
can,  if  we  desire,  compound  a  fluid  that 
will  work  as  well  as  the  so-called  "sensi- 
tizer "  of  Whiteall,  and  for  much  less  than 
three  dollars  a  quart.  Whether  the  hypo 
has  sufficient  effect  upon  the  sensitiveness 
of  the  plate,  we  will  not  discuss;  but  surely 
it  is,  under  certain  circumstances,  of  advan- 
tage in  the  development.  It  has,  in  the 
proportion  of  1-1000,  been  recommended  to 
quicken  development  and  bring  out  more 


THE  PHILADELPHIA  PHOTOGEAPHEE. 


71 


detail.  I  have  used  it  with  advantage 
to  get  greater  contrast,  and  to  obtain  softer, 
more  harmonious  negatives.  For  instance, 
in  an  exposure  upon  an  oil  painting  by 
Sichel,  where  the  face  was  remarkably 
lightly  modelled,  in  using  azaline  plates  the 
high  lights  were  found  to  be  always  too 
intense  in  relation  to  the  shadows,  giving  a 
very  hard  image.  Longer  exposure  did 
not  mend  the  matter.  The  lights  became 
very  strong  before  the  shadows  made  their 
appearance,  and  hence  were  very  intense. 
Here  the  use  of  a  dilute  (1-1000)  solution 
of  hypo  gave  excellent  results.  The  plate 
was  put  into  it  for  one  minute,  and  then, 
without  washing,  developed  with  oxalate. 
The  lights  and  shadows  came  up  together 
and  strengthened  uniformly.  At  first  the 
image  appeared  very  intense,  even  in  the 
shadows;  but  on  the  transparent  portion, 
thin.  But  if  the  development  is  allowed  to 
go  on,  the  negatives  become  stronger  in  the 
transparent  parts.  The  right  degree  of  in- 
tensity can  be  judged  of  by  the  ruby  light, 
when  the  development  must  at  once  be 
stopped  by  thorough  washing.  By  this 
means  I  gained  a  beautiful,  soft,  harmonious 
negative,  uniform  in  lights  and  shadows. 

Several  years  ago,  my  scholar,  Mr.  Jahr, 
succeeded  in  taking  a  photograph  of  the 
Garfield  Monument  at  Cleveland  by  the 
light  of  the  moon,  confirming  the  view  that 
the  full  moon  had  sufficient  actinic  power 
to  impress  an  image  upon  a  sensitized  plate ; 
but  no  one,  I  think,  has  imagined  that  the 
dark  vault  of  the  sky  has  also  actinic  power. 
That  such  is  the  case,  Fol  and  Sarasen  have 
shown.  They  sunk  in  the  Lake  of  Geneva 
a  waterproof  case,  containing  a  dry  plate  at 
different  depths.  The  plate  was  covered 
by  a  glass  plate,  upon  which  letters  and 
figures  were  painted  with  a  black  varnish; 
on  opening  the  case,  and  with  the  presence 
of  light,  the  designs  were  copied  upon  the 
plate  lying  beneath.  The  exposure  was  ef- 
fected by  a  mechanical  contrivance,  and  the 
time  given  was  ten  minutes.  The  apparatus 
was  also  employed  during  a  moonless  night 
in  open  air,  the  plate  receiving  ten  minutes 
exposure.  It  showed  a  visible  effect.  The 
experiments  at  Geneva  gave,  with  232  metres 
deep,  no  effect;  but  an  effect  at  120,  where 
the  amount  of  light  was  about  equal  to  that 


of  a  clear  moonless  night.  In  September, 
with  obscured  sky,  the  light  penetrated 
deeper  into  the  water  than  with  clear  sky 
in  August. 

Under  the  title  "Silver  Lakes  for  Emul- 
sion Plates,"  I  find  in  Anthony's  Bulletin  a 
valuable  article  from  the  pen  of  our  highly 
honored   colleague,    Mr.    Carey   Lea.    JEe 
speaks  of  my  discovery  of  making  photo- 
graphic films  sensitive  to  red,  yellow,  and 
green,  by  dyeing  with  certain  colors.     He 
says:    "The  plan  of  dyeing  the  films  is  far 
from  being  new ;  and,  if  I  am  not  mistaken, 
I  was  the  first  to  advocate  it  sixteen  years 
ago.     The  next  experiments   with  stained 
films  were  made  by  Major  Waterhouse  and 
Dr.   Vogel.     The   latter   affirms  that  each 
the  color  increases  the  sensitive  of  the  plates 
to  those  rays  which  the  coloring  matter  ab- 
sorbs," etc.     These  notices  make  it  appear 
as  if  my  worthy  colleague,  Mr.  Lea,  had 
been   my   predecessor   in   the  discovery  of 
the  color-sensitive  process.    Fortunately,  he 
declares  positively  that  he  by  no  means  in- 
tended by  dyeing  the  films  to  secure  a  color 
sensitiveness,  but  that  his  object  was  merely 
to  prevent  blurring.     Against  this  I  have 
nothing  to  say,  but  I  do  not  think  it  ex- 
actly correct  to  mention  me  in  the  same 
breath  with  Mr.  Waterhouse,  even  placing 
Waterhouse  first.     In  opposition  to  this,  I 
remark  that,  as  early  as  1873,  in  December, 
my  results  with   isochromatic  plates  were 
published,   and   that  Waterhouse   did   not 
begin  his  experiments  in  the  same  direction 
until  1878.    On  the  occasion  of  our  meeting 
on   Nicobar  Island,  during  the   eclipse  of 
the  sun,  I  showed  him  photographs  of  the 
spectrum,   made    with    my   color-sensitive 
plates,  and  urged  him  to  continue  the  ex- 
periments.    In  conclusion,  my  worthy  col- 
league  turns   against   my   theory,   saying, 
"the  results  obtained  by  myself  were  con- 
tradictor}', and  seemed  as  often  to  oppose 
the  theory  as  to  support  it."     I  must  ob- 
serve that,  ten  years  ago,  I  pointed  out  the 
fact  that  his  experiments  afforded  no  proof, 
inasmuch  as  he  had  not  experimented  with 
the  spectrum,  and  his  experiments  without 
the  spectrum  cannot  gainsay  my  experiments 
with  the  spectrum.     One  thing  is  certain : 
that  all  plates  hitherto  prepared  with  dye 
stuffs  to  render  them  sensitive  to  the  im- 


72 


THE  PHILADELPHIA  PHOTOGEAPHEE. 


pression  of  colors  must  conform  to  my  es- 
tablished laws.  If,  therefore,  practical 
photography  has  got  over  this  most  difficult 
problem,  it  will  have  to  thank  me  for  the 
laws  which  I  have  discovered. 

H.  W.  Vogel. 

Berlin,  January  30,  1885. 


ANSWER  TO  THE  AUTHOR  OF 
"VICISSITUDES  OF  GELATINE."1 

Mr.  E.  L.  Wilson, 

Dear  Sir  :  In  reference  to  the  article  by 
Mr.  Eanald  Douglas,  in  No.  254  of  the 
Philadelphia  Photographer,  entitled 
"The  Vicissitudes  of  Gelatine,"  I  would 
like  to  say  a  few  words,  if  you  would  accord 
them  space  in  your  journal. 

Those  flat,  dull-looking,  opaque  spots  of 
which  Mr.  Douglas  complains  I  have  had 
experience  with,  in  my  practice  of  emulsion 
making,  but  only  when  more  hard  than  soft 
gelatine  was  employed  in  the  making  of  the 
emulsion.  For  instance,  if  two  parts  of 
Heinrich's  hard  gelatine  and  only  one  part 
of  Nelson's  were  employed,  these  spots  in- 
variably made  their  appearance.  Less  fre- 
quently with  Simeon's  gelatine,  but  mostly 
when  the  gelatine  was  watery. 

I  have  found  that  with  the  use  of  two 
parts  of  soft  gelatine  and  one  part  of  hard 
the  spots  were  less  liable  to  appear. 

If  the  emulsion  be  cooked  at  a  high  tem- 
perature rapidly  the  spots  are  more  likely  to 
appear  than  when  the  temperature  is  lower 
and  the  digestion  slower. 

I  do  not  think  that  the  spots  would  not 
make  their  appearance  by  keeping  the  nega- 
tives a  long  time  after  making,  but  I  cannot 
say  this  from  experience,  since  I  always  use 
my  emulsion  in  a  fresh  state,  not  longer  than 
two  days  after  its  making. 

I  have  found  the  best  plan  to  get  rid  of 
these  spots  is  by  the  addition  of  a  weak  solu- 
tion in  proportion,  1  to  4  or  1  to  7. 

As  I  have  said,  I  have  had  but  little  bother 
with  these  opaque  spots,  because,  for  the  sake 
of  brilliancy,  I  use  soft  gelatine.  I  digest 
the  emulsion  with  Heinrich's  hard  gelatine, 
and  then  add,  according  to  the  season  of  the 
year,  soft  gelatine ;  usually  three  parts  soft 
to  one  part  hard.     If  this  plan  is  pursued,  I 

1  Translated  from  the  German. 


am  confident  the  spots  will  not  show  them- 
selves. 

In  the  hope  that  my  few  remarks  may  be 
of  use,  and  in  the  expectation  of  seeing  them 
published  in  your  excellent  journal,  I  remain 
Tours,  Jos.  Doella. 

N.B. — As  I  cannot  well  express  myself  in 
English,  I  have  been  obliged  to  write  this 
in  German,  in  the  hope  that  you  would 
have  it  translated.  J.  D. 

A  PROCESS-MONGER  AGAIN  ON 
THE  TRACK. 

The  tactics  of  this  journal  have  been  for 
open  war  upon  all  process-mongers.  As 
they  always  advance  under  cover  of  deceit, 
flaunting  attractive  circulars,  to  catch  the 
eye  of  the  unsuspecting  and  too  easily  gulli- 
ble, it  needs  but  little  expenditure  of  com- 
mon-sense ammunition  to  scatter  their  high- 
sounding  pretentions  and  to  route  them 
completely. 

We  have  received  one  of  their  heralds  in 
the  form  of  a  circular,  claiming  to  revolu- 
tionize the  whole  course  of  photographic 
experience. 

This  wonderful  fluid  which  the  inventor 
tells  us,  for  sake  of  a  name,  he  has  called 
Liquid  Lightning,  is  the  cheapest  ever 
gotten  up,  costing  only  thirty  or  forty  cents 
for  material  to  prepare  one  dozen  8  by  10 
plates.  It  is  also  the  simplest  and  easiest  to 
prepare.  Any  one  who  can  make  a  silver 
bath,  or  a  batch  of  collodion,  can  make  and 
work  liquid  lightning  with  absolute  cer- 
tainty of  success. 

It  is  perfectly  uniform  ;  of  any  degree  of 
rapidity.  You  need  not  bother  yourself 
about  long  or  short  exposure.  Timing  is  a 
matter  of  no  consequence.  It  will  make  a 
strong  or  weak  negative,  as  you  desire,  full 
of  contrast  and  detail.  Tou  may  make 
your  plates  very  slow  or  very  quick.  In 
brief,  it  is  the  simplest,  the  cheapest,  the 
quickest,  the  surest,  the  best. 

With  a  sense  of  the  eternal  fitness  of 
things,  the  discoverer  has  aptly  called  his 
great  discovery  Liquid  Lightning,  for  its 
course  will  be  as  brief  as  the  "  collied  light- 
ning in  the  night." 

Mr.  Pi.  E.  Wood  writes  : 

Editor  P.  P.  :  For  fear  that  you  might 


THE   PHILADELPHIA    PHOTOGEAPHEE. 


73 


not  be  so  lucky  as  myself  and  receive  direct 
from  headquarters  the  valuable  knowledge 
contained  in  the  enclosed  slip,  I  hasten  to 
forward  the  same,  that  you  may  the  sooner 
know  of  the  great  revolution  that  is  to  take 
place  in  the  emulsion  business.  "Liquid 
lightning;"  how  expressive;  how  it  will 
shatter  the  many  dry-plate  factories,  and 
rip  their  ads  from  the  pages  of  the  P.  P. 
More,  it  may  shatter  the  whole  concern,  for 
what  use  is  it  to  have  any  more  literature  in 
the  business.  "Liquid  lightning,  with  ab- 
solute certainty  of  success,"  is  all  that  can 
be  desired.  Oh  !  Vogel,  oh  !  Eder,  oh  !  all 
you  great  experimenters  and  scientists,  the 
great  thunderbolt  of  Missouri  is  about  to  hit 
you.  Well,  such  is  the  life  of  man  ;  history 
but  repeats  itself  in  this,  your  sad  experience. 


PHOTOGRAPHIC  VISITS  TO  SOME 
OF  OUR  BATTLEFIELDS. 

BY  WILLIAM    H.  RAU. 

I  must  confess  that,  in  accepting  the  in- 
vitation of  some  gentlemen  who  had  par- 
ticipated in  the  late  war  of  the  rebellion  to 
pay  a  visit  to  the  battle-ground  of  Freder- 
icksburg, I  did  so  more  from  a  desire  to  see 
the  land  of  Virginia  and  its  people  than  from 
any  interest  in  connection  with  the  battle. 
I  had  with  me  a  5  x  8  outfit,  with  dry  plates, 
for  the  purpose  of  making  such  views  as  my 
companions  might  select,  as  they  had  studied 
up  the  points,  and  knew  the  locations  and 
incidents  that  made  the  places  historical 
and  interesting.  We  left  Philadelphia  on 
a  midnight  train,  and  at  nine  o'clock  the 
next  morning  arrived  in  Fredericksburg. 
We  were  met  by  a  gentleman  who  had  par- 
ticipated on  the  other  side  in  this  particular 
battle,  and  could  point  out  the  exact  location 
of  the  troops,  batteries,  etc.  He  introduced 
us  to  Manuel,  a  colored  hackman,  whom  we 
found  an  excellent  guide.  We  drove  rapidly 
through  the  nearly  deserted  streets  to  the 
bridge,  and  crossed  the  Eapparfannock,  and 
soon  arrived  at  the  Lacy  House,  directly 
opposite  the  town.  This  commands  a  fine 
view  of  the  place,  and  afforded  an  excellent 
panoramic  shot  for  our  camera.  Going  now 
to  the  Lacy  House,  we  enter,  and  find  rooms, 
the  floors  of  which  were  saturated  with 
blood  from  the  wounded  and  dying,  carried 


here  during  the  siege.  The  building  is  so 
densely  covered  with  foliage  that  we  can 
scarcely  get  a  view  of  it,  excepting  at  an 
angle.  Everything  looks  so  quiet  and  peace- 
ful that  one  can  scarcely  realize  the  tremen- 
dous slaughter  that  took  place  here  and  in 
the  immediate  neighborhood.  Turning 
back,  we  drove  a  mile  or  two  to  the  head- 
quarters of  General  Burnside.  The  house 
that  formerly  stood  here  is  entirely  gone, 
and  only  a  few  mounds  of  earth  show  where 
it  stood.  Standing  on  one  of  these  mounds, 
we  get  a  magnificent  view  of  the  lay  of  the 
land  in  all  directions.  The  situation  is  ele- 
vated, and  was  well  chosen  to  overlook  all 
that  was  transpiring.  The  view  was  too 
distant  to  make  a  good  photograph,  but  the 
atmosphere  was  so  clear  that  every  house  in 
the  town  could  be  distinguished  on  the 
negative. 

We  now  turn  up  the  river  and  reach  the 
Scott  Mansion,  near  which  was  planted  the 
famous  Massachusetts  batteries  that  fired 
shot  and  shell  into  Fredericksburg.  The 
earthworks  are  still  there,  although  much 
lower  than  during  the  war,  and  the  breaches 
for  the  guns  plainly  indicated,  so  pictures 
showing  these  were  made,  to  lend  point  to 
which,  I  had  my  companions  place  them- 
selves in  various  positions  and  attitudes 
along  and  on  top  of  the  earthworks;  one 
with  a  field  telescope,  another  pointing  in 
the  direction  of  the  town,  etc.,  bringing 
their  figures  prominently  against  the  sky, 
giving  the  whole  a  certain  amount  of  life, 
which  it  needed.  We  made  a  group  of  the 
family  living  in  the  mansion,  with  their 
servants.  Nearly  all  of  them  had  lived 
here  during  and  since  the  war.  They  re- 
lated with  animation  the  dreadful  scenes 
that  took  place  before  them  while  living 
here.  Their  plantation  had  been  a  rich 
one,  but  it  was  very  poor  now;  in  fact,  the 
whole  country  around  about  seems  asleep, 
and  needs  awakening. 

We  caught  a  characteristic  negro  group 
near  the  house  of  an  old  colored  man,  and 
a  young  boy  drawing  water  from  a  well. 
We  next  passed  through  a  group  of  houses, 
one  of  which  was  General  Sumner's  head- 
quarters. It  is  a  frame  building,  and  looks 
none  the  worse  for  wear.  This  we  made  a 
negative  of,  after  which  we  crossed  back  over 


74 


THE  PHILADELPHIA  PHOTOGKAPHEK. 


the  river  to  the  town  side,  and  reached  a  spot 
where  the  Federal  troops  crossed  on  a  pon- 
toon bridge.  The  place  is  plainly  indicated 
on  both  sides  of  the  river  where  the  ends  of 
the  pontoons  were  landed,  it  being  the  nar- 
rowest part  of  the  stream.  The  foliage  here 
is  luxuriant  and  quiet,  and  gave  us  more  of 
a  picture  than  any  we  had  yet  made. 

Immediately  back  of  Fredericksburg,  or, 
more  properly  speaking,  in  the  suburbs, 
away  from  the  river,  we  were  pointed  out 
the  house  in  which  Washington's  mother 
lived  during  her  residence  here.  She  is  said 
to  have  taken  many  a  stroll  to  a  clump  of 
trees  a  few  hundred  yards  back  of  the  house, 
where  she  read  or  knit,  and  spent  pleasant 
hours.  This  being  her  favorite  spot,  she  was 
buried  there,  and  a  monument  was  begun, 
but  never  finished,  as  the  huge  obelisk  that 
was  to  cap  the  structure  has  never  been  raised 
to  its  place,  but  lies,  chipped  and  neglected, 
on  the  ground.  Every  part  of  the  monu- 
ment, and  brick  wall  near  it,  is  covered  and 
scarred  with  bullet  marks.  We  obtained 
several  good  negatives  of  the  tomb  and  sur- 
roundings. 

The  country  seems  rich,  yet  it  is  misera- 
bly poor  No  enterprise,  no  ambition,  and 
evidently  very  little  money.  We  were 
shown  the  location  of  Stonewall  Jackson's 
headquarters,  from  which  point  we  made  a 
very  fine  landscape  view  in  the  direction  of 
Fredericksburg.  We  met  here  a  rebel 
private  who  had  served  in  Stuart's  cavalry, 
and  knew  every  inch  of  ground,  on  which 
he  delivered  quite  a  discourse.  The  saddest 
of  all  sights  is  the  National  Cemetery,  where 
nearly  twenty  thousand  Union  soldiers  lie 
buried.  Acres  of  dead;  many  of  them  un- 
known; over  whose  graves  floats  the  flag 
they  fought  under,  and,  fighting,  fell. 
The  graves  are  arranged  in  terraces,  with 
granite  head-stones  marked,  and  every  honor 
paid  them  that  our  Government  can  give. 
From  this  beautiful  cemetery  hill  we  go  to 
the  Confederate  cemetery,  where  the  South- 
ern people  have  done  the  best  they  could 
with  the  means  at  command.  A  fine  gran- 
ite monument,  erected  by  Southern  ladies, 
graces  the  centre,  around  which  are  arranged 
wooden  posts,  which  mark  the  graves  of  the 
Confederate  soldiers — most  of  them  marked 
with  that  sad  word,  "Unknown." 


Turning  with  a  sigh  from  this  spot,  we 
visit  Marye's  Heights,  where  the  most 
bloody  part  of  the  battle  was  fought.  The 
mansion  is  beautifully  located  on  the  crest 
of  a  hill,  surrounded*by  fine  trees.  Along 
the  road  at  the  bottom  of  the  hill  runs  a 
stone  wall,  in  front  of  and  near  which  we 
are  assured  fifteen  thousand  men  were  killed, 
mostly  Federal  soldiers.  The  slaughter  was 
fearful  This,  although  not  a  picturesque 
view,  was  duly  photographed. 

Leaving  Marye's  Heights,  we  make  our 
way  back  towards  the  river,  and  visit  the 
ruins  of  ODe  of  Virginia's  grandest  homes, 
the  Bernard  mansion.  The  house  itself  is 
almost  gone ;  only  a  few  piles  of  stones  still 
in  place  project  above  the  heavy  foliage. 
One  of  the  out-houses,  the  servant's  lodge, 
perhaps,  still  stands,  with  its  walls  intact- 
Immediately  in  front  of  the  house  General 
Geo.  D.  Bayard  was  killed.  This  place 
afforded  us  much  pleasure,  as  it  gave  some 
idea  of  the  grandeur  and  wealth  of  the  Vir- 
ginians before  the  war.  Far  down  behind 
the  house  we  could  still  trace  pathways,  steps, 
romantic  glens,  and  arched-over  springs, 
that  made  us  wish  to  have  seen  them  in 
their  days  of  glory.  Some  of  these 
paths  led  down  to  the  very  banks  of  the 
winding  river,  where  perhaps  a  landing 
place  was  built  for  boats.  Next  to  the 
ruined  plantation  lives  a  brother  of  the 
former  owner.  His  house  is  of  wood,  and 
contains  many  fine  pieces  of  furniture  and 
silver  that  were  saved  when  the  original 
stone  mansion  was  destroyed  during  the 
war.  It  affords  the  grandest  view  of  the 
Kappahannock  River  and  Fredericksburg 
through  the  trees  that  we  had  as  yet  seen  ; 
and  gave  us,  too,  an  excellent  idea  of  the 
locations  of  both  armies.  It  made  a  choice 
picture  framed  in  with  foliage. 

Climbing  down  the  hill  to  the  river,  we 
were  shown  the  last  crossing  made  by  the 
Federal  troops  in  their  retreat.  A  pier  of 
wood  and  sfcne  reaches  out  into  the  river, 
and  helps  make  a  well-composed  picture. 
It  being  nearly  dark,  we  returned  to  Mr. 
Bernard's  house,  where  we  were  entertained 
by  the  host,  who  seemed  glad  to  talk  with 
Northern  men  about  the  condition  of  the 
country  before  and  since  the  war.  He  had 
a  fine  farm  of  nine  hundred  acres,  and  a 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


75 


good  location  on  the  river,  etc.,  yet  he 
barely  made  enough  to  support  his  small 
family.  We  returned  home  with  a  complete 
set  of  plates  of  all  we  had  seen  that  was 
interesting  to  photographers,  not  having 
missed  a  plate,  and  feeling  well  repaid  for 
the  knowledge  gained  about  the  battle  of 
Fredericksburg. 

[To  be  continued.) 

PHOTOGRAPHING  THE  NEW 
ORLEANS  EXPOSITION 

BY  G.  HANMER  CROTTGHTON, 

Superintendent  of  the  Centennial  Photographic 
Company. 

In  my  last  communication  (see  Phila- 
delphia Photographer  for  December, 
1884)  I  said  I  should  have  more  to  say  about 
experience  with  American  dry  plates.  The 
two  months  which  have  passed  since  last 
writing  have  been  busy  ones,  and  some 
thousands  of  gelatino-bromide  plates,  of 
various  makers,  have  passed  through  my 
hands,  and  this,  my  first  experience  with 
American  dry  plates,  has  been  most  inter- 
esting and  instructive. 

The  location  of  the  Centennial  Photo- 
graphic Company  in  the  Main  Building  of 
the  World's  Industrial  and  Cotton  Centen- 
nial Exposition  is  one  well  suited  to  the 
business  to  be  done,  being  in  the  south-east 
corner  of  the  gallery.  We  have  both  an 
east  and  south  light.  The  location  was 
chosen,  and  a  rough  draft  of  the  work-rooms, 
etc.,  made,  by  Mr.  Wilson,  and  the  system 
of  working  determined  upon  before  I  left 
Philadelphia  last  October.  Like  a  general 
planning  a  campaign,  it  was  for  him  to 
plan ;  it  was  left  for  his  officers  to  carry  out 
that  plan.  It  is  a  proof  of  his  foresight  and 
experience  that  the  original  plan  has  not 
been  modified  in  any  one  particular. 

The  plan  or  system  upon  which  we  work 
is  peculiar,  and  at  first  sight  it  would  appear 
that  it  was  not  well  suited  to  get  the  best 
quality  of  work,  nor  a  great  quantity  of  it, 
but  in  practice  it  is  working  splendidly;  it 
is  as  follows  : 

The  operators  do  nothing  but  make  the 
exposures;  the  developers  nothing  but  de- 
veloping. In  the  morning  it  is  the  duty  of 
the  Superintendent  to  have  all  the  various 


apparatus  ready,  holders  filled  with  plates, 
etc.;  the  exhibits,  views,  etc.,  arranged  for 
the  time  of  day  most  suitable  for  them ;  and 
the  lenses  of  the  most  suitable  length  of 
focus  for  each.  The  operators  take  their 
various  apparatus  and  appliances  and  go  to 
the  places  assigned  them ;  and  here  let  me 
say  that  this  work  of  making  photographs 
of  exhibits  is  an  experience  by  itself.  It 
not  only  requires  a  man  to  be  a  good 
operator,  but  he  must  combine  with  it 
something  of  the  gymnast;  and  also  he 
must  be  ready  to  defend  himself  from  attack 
on  the  part  of  other  exhibitors  who  may  be 
next  the  exhibit.  He  has  to  talk,  for  some- 
times the  owner  of  the  exhibit  does  not  want 
any  portion  of  an  exhibit  (frequently  of  the 
same  class  of  goods)  next  him  to  show  in 
his  picture,  and  so  screens  have  to  be  ar- 
ranged between  them  to  block  out  the  rival's 
goods  or  signs.  Frequently  our  men  had 
to  climb  like  cats  to  drape  windows,  or  cover 
up  obnoxious  signs;  and  then  the  owner  of 
the  covered-up  sign  will  come  along,  and 
then — there  are  words.  It  not  unfrequently 
takes  hours  to  arrange  for  an  exposure, 
blocking  out  light  from  windows,  which 
would  cause  halation  in  the  picture,  or  put- 
ting up  dark  screens  to  prevent  reflections 
from  the  glass  in  the  show-cases ;  and  then 
the  exposures  are  so  different  and  difficult  to 
determine.  Plates  which  work  out-doors 
in  from  one  to  four  seconds  are  exposed 
upon  exhibits  in  the  building  from  one  to 
forty  minutes. 

When  the  operator  has  finished  his  ex- 
posure, the  holder  is  taken  to  the  changing 
room,  another  holder  is  given  him,  and  he 
goes  off  to  make  another  exhibit,  while  the 
exposed  plate  is  taken  to  the  developing 
room  to  be  developed.  Here  a  system  of 
developing  has  been  adopted  which  is  most 
successful  in  its  results.  We  have  found 
that,  for  uniformity  of  result,  the  potash 
developer  is  the  best,  and  it  is  worked  thus. 

In  all  cases  the  operators  are  instructed 
to  give  enough  time.  An  over-exposed 
plate  can  be  made  to  produce  a  good  print- 
ing negative,  but  an  under-exposed  plate  is 
fit  for  nothing;  so  we  commence  with  the 
idea  that  all  the  plates  are  fully  exposed, 
and  to  commence  with  half  the  amount  of 
potash  required  to  make  up  the  normal  de- 


76 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


veloper.  If  in  this  the  negative  should 
come  up  too  quickly,  there  is  a  dish  of  bro- 
mide and  water  into  which  the  plate  is  put, 
and  development  stopped  at  once  ;  while  a 
developer  weak  in  potash,  and  restrained 
very  much  with  bromide,  is  used  to  finish 
with.  A  plate  must  be  very  much  over- 
exposed which  does  not  produce  a  good 
negative  by  this  treatment. 

If,  on  the  other  hand,  the  plate  is  slow 
to  develop  in  the  first  developer,  potash  is 
added,  a  little  at  a  time,  and  very  cautiously, 
till  the  full  normal  developer  is  upon  the 
plate.  If  it  does  not  develop  with  that,  a 
first-class  negative  cannot  be  expected. 

The  arrangement  for  washing  the  plates 
is  new  to  me,  and  is  very  successful.  A 
sloping  board  runs  the  whole  length  of  the 
sink  twelve  feet.  This  is  about  thirty-six 
inches  wide,  and  has  a  narrow  slip  nailed 
upon  its  lower  edge.  Upon  this  sloping 
board  the  negatives  of  all  sizes,  from  20  x  24 
to  5  x  6,  lie  flat ;  while  a  stream  of  water 
from  a  pipe  perforated  with  small  holes 
(which  pipe  runs  the  whole  length  of  the 
board)  keeps  a  constant  supply  of  fresh 
water  running  over  the  surfaces  of  the 
plates.     We  wash  for  about  an  hour. 

We  have  used  here  some  six  different 
brands  of  plates,  and  I  must  confess  that, 
for  quality,  all  have  been  equal  to  the  best 
brands  of  English  plates;  although,  with 
one  exception,  they  are,  as  a  rule,  slower 
than  the  best  English  plates.  This  excep- 
tion is  a  well-known  plate  in  the  American 
market,  which  is  extremely  rapid;  so  rapid 
that  our  operators  have  not  been  able  to 
expose  upon  buildings  and  ground  quick 
enough  without  some  sort  of  shutter ;  so 
that  we  have  lost  a  considerable  quantity  of 
plates  from  over-exposure,  with  all  the  care 
taken  in  development.  With  the  smallest 
stop  in  a  4-inch  Morrison  wide  angle  lens 
(used  for  stereo  work)  in  a  good  light,  an 
ordinary  drop  shutter  gave  an  over-exposed 
plate.  It  was  so  difficult  to  hit  the  exposure 
with  these  plates  that  the  operators  did  not 
care  to  use  them,  and  we  now  only  use  them 
for  dimly  lighted  exhibits,  where  they  pro- 
duce results  which  I  believe  no  other  plate 
produce;  and,  to  give  some  idea  of  the 
difficulties  of  this  work,  I  may  mention 
ihat  these  same  plates,  to  which  we  could 


not  give  little  enough  exposure  in  the  open, 
have  been  exposed  as  much  as  fifteen  or 
twenty  minutes  upon  badly  lighted  exhibits 
in  the  interior  of  the  building,  the  resulting 
negatives  being  very  fine  indeed,  showing 
detail  in  the  very  darkest  corners.  These 
extremely  rapid  plates  are  more  free  from 
halation  than  the  slower  kind. 

The  plate  most  in  favor  with  our  opera- 
tors is  one  which  is  known  and  liked  by 
every  one  who  has  used  it.  It  if  moder- 
ately quick — quick  enough  for  all  ordinary 
work — always  good  and  uniform  in  quality. 
We  have  lost  less  of  these  plates  than  any 
other,  because  of  the  latitude  in  exposure, 
and  the  ease  and  certainty  in  development. 
When  I  say  moderately  quick,  I  mean  that 
in  a  good  light,  views  of  grounds  and  build- 
ings are  made  with  the  smallest  stop  of  a 
Morrison  wide-angle  lens  in  from  one  to 
four  seconds.  The  same  maker  sends  out  a 
quicker  brand,  but  those  we  have  not  tried 
here.  Take  them  altogether,  I  am  much 
pleased  with  the  American  plates,  which 
appear  to  me  to  be  more  uniform  in  quality 
than  English  plates. 

Although  to  a  certain  extent  I  have  be- 
come a  convert  to  the  potash  developer,  I 
still  remain  true  to  my  first  love  (ammonia) ; 
and  when  a  more  than  ordinary  difficult 
thing  has  to  be  done,  I  use  the  developer 
described  in  my  last  in  preference  to  any 
other.  But  in  the  developing  room  here, 
the  potash  and  soda  developers  are  used 
right  along.  Either  of  these  requires  less 
experience  and  close  attention  during  devel- 
opment than  the  ammonia;  therefore  they 
are  better  for  general  work,  particularly 
where  the  one  who  develops  is  not  the  one 
who  exposes. 

I  have  mentioned  the  Morrison  lenses. 
It  is  the  first  time  I  have  had  any  experi- 
ence with  lenses  not  of  English  make,  and 
I  like  these  lenses  very  much  indeed.  Eor 
flatness  of  field,  and  uniformity  of  illumina- 
tion, they  are  as  good  as  can  be.  I  have 
used  them  here  of  all  sizes,  from  stereo  to 
20  x  24,  and  all  are  equally  good,  and  quite 
equal  to  the  higher-priced  English  lenses. 
They  are  extremely  rapid,  too,  for  their 
focal  length. 

The  camera  boxes  are  also  novel  to  me. 
They  are  the  revolving  back-folding  cameras 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


77 


of  Scovill's  make.  There  is  only  one  im- 
provement I  could  suggest,  and  that  is, 
that  the  bottom  should  be  panelled,  instead 
of  open ;  for,  when  focussing,  the  light  gets 
through  the  gridiron  bottom,  and  you  can- 
not well  shut  it  out.  The  revolving  back  is 
a  great  convenience,  and  quite  makes  up 
for  the  extra  weight  and  size  of  the  camera 
box. 

The  developing  room  and  changing  room 
are  lighted  by  the  same  lamp,  which  is 
hung  in  a  passage-way  made  between  the 
two  rooms.  Thus  there  is  one  uniform  light 
all  day;  the  windows  have,  next  the  light, 
ground  glass;  and  inside  the  room,  ruby 
glass.     The  light  is  soft  and  abundant. 

The  printing  rooms  are  large,  and  face 
the  south.  There  are  about  1000  square 
feet  of  space  in  these  rooms.  There  are  six 
windows,  each  eleven  feet  wide,  from  which 
the  printing  is  done.  On  the  upper  floor 
are  the  silvering  rooms,  the  toning,  wash- 
ing, and  mounting  rooms;  while  on  the 
same  floor  are  the  developing  and  changing 
rooms,  one  varnishing  room,  store  room 
and  finishing  room,  and  large  store  or  sales 
room,  100  feet  long  by  22  feet  wide.  At  the 
end  of  the  sales  room,  in  the  tower  at  the 
south  side  of  the  south-east  entrance,  are 
the  offices  for  the  cashiers,  and  Mr.  E.  L. 
Wilson's  private  office.  Altogether  there 
are  about  7000  square  feet  in  this  corner  of 
the  building  devoted  to  photography. 

Now  about  the  work  done  here,  and  how 
it  is  done.  Photography  about  the  grounds 
here  is  a  great  treat.  Nature  has  been 
most  bountiful,  and  art  has  done  much  also 
to  make  this  park  a  most  delightful  place 
to  ramble  over.  The  grand  avenues  of  live 
oaks,  with  their  dark  green  glossy  leaves, 
their  massive  limbs,  draped  with  the  long 
gray  moss,  which  hangs  in  long  trailing 
masses  and  festoons  from  branch  to  branch, 
are  the  principal  attractions  to  Northern 
visitors,  and  form  splendid  subjects  for  the 
camera;  but  the  moss  is  so  light  that  it  is 
set  in  motion  by  the  lightest  breath  of  air, 
and  we  have  only  had  two  days  in  as  many 
months  that  have  had  the  required  com- 
bination of  light  and  stillness  necessary  to 
getting  good  photographs  of  these  avenues. 
Standing  like  sentinels  at  the  end  of  the 
avenue  nearest  the  river  are  two  giants,  of 


immense  girth,  and  covering  a  large  extent 
of  space  with  their  gigantic  limbs.  These 
two  trees  Mr.  Wilson  has  christened  the 
Monarch  and  the  Mammoth,  and  they  well 
deserve  their  names.  We  have  some  fine 
stereos  of  these  avenues  and  trees;  we  have 
yet  the  pleasure  in  store  of  making  larger 
pictures  of  them. 

Horticultural  Hall  is  a  store-house  of 
pretty  and  curious  vegetation,  from  all  parts 
of  the  world.  Bearing  its  graceful  head 
high  into  the  central  tower  is  the  cocoanut 
palm,  with  its  great  clusters  of  fruit  hang- 
ing from  it.  Smaller  palms  of  various 
kinds  are  clustered  round  the  fountain  ; 
while  bananas,  palmetto,  cacti,  and  other 
tropical  plants,  from  a  bewildering  vista 
from  the  centre  outwards.  A  large  number 
of  negatives  has  been  made  in  this  place, 
and  a  still  larger  number  remains  to  be 
made. 

Many  views  of  the  exterior  of  the  Main 
Building  have  been  made,  the  prettiest  of 
which  are  those  where  peeps  of  the  building 
are  obtained  through  the  trees.  The  same 
may  be  said  of  the  Government  Buildings. 

It  is  when  we  get  into  the  interior  work 
that  the  pleasure  becomes  a  toil.  There  are 
so  many  windows  that  it  is  almost  impossi- 
ble to  get  one  view  of  the  interior  without 
some  amount  of  blurring;  and  in  making 
views  of  exhibits,  this  necessitates  in  many 
instances  the  draping  round  three  sides  of 
it,  to  cut  off  light,  which  would  otherwise 
fog  the  picture;  and  then  the  building  up 
of  platforms,  and  standing  upon  ladders  to 
focus,  and  other  acrobatic  feats,  make  this 
part  of  the  work  anything  but  pleasure. 
And  yet  I  should  not  say  so;  for,  after  all, 
there  is  a  great  pleasure  in  producing  a 
good  result,  in  spite  of  such  difficulties. 
We  have  one  8  x  10  photograph  which  well 
illustrates  this  difficulty.  It  is  taken  from 
the  floor  of  the  Government  and  State 
Building.  It  shows  an  erection  of  plants 
and  roses  on  the  top  of  one  of  the  pavilions 
of  a  State  exhibit,  this  rough  platform  being 
from  twenty-five  to  thirty  feet  from  the 
floor.  On  the  top  of  this  are  set  the  legs  of 
a  nine-foot  tripod  stand,  on  top  of  which  is 
the  20  x  24  revolving  back  camera  box. 
Two  operators  are  upon  this  very  uusafe 
looking  platform,  receiving  directions  from 


78 


THE    PHILADELPHIA    PHOTOGRAPHEE. 


Mr.  E.  L.  Wilson,  who  is  upon  a  ladder 
some  feet  below  them.  This  photograph 
was  taken  while  they  were  making  ready 
to  take  a  20  x  24  of  the  State  seal  of  Minne- 
sota, supported  on  either  side  by  two  deer; 
and,  as  I  said  before,  well  illustrates  the 
difficulties  of  some  of  the  inside  work. 

The  Government  and  States  Building  is 
rich  in  material  for  the  camera.  Each 
State  has  done  its  best  to  outdo  the  other, 
and  some  of  the  prettiest  and  most  artistic 
combinations  of  the  different  produce  of 
the  various  States  are  to  be  seen  here.  Corn 
in  ear,  corn  in  section  and  in  grains,  is 
formed  into  flowers  and  all  kinds  of  deco- 
rative designs.  Grasses,  moss,  and  straw 
play  their  part;  and  minerals  and  woods 
take  their  places  in  the  great  show  of  the 
different  States'  resources. 

While  a  great  deal  of  work  has  already 
been  done  on  the  grounds,  and  in  the  Expo- 
sition Buildings,  the  town  of  New  Orleans 
itself  has  not  been  passed  over.  Character- 
istic street  scenes,  views  of  the  cotton  levee, 
steamboats  loaded  with  cotton,  etc.,  have 
been  secured,  and  the  old  or  Creole  town  is 
full  of  quaint  old-time  huts,  which  delight 
the  artist.  There  are  the  many-galleried 
Creole  houses,  with  their  large  cisterns  for 
catching  the  rain  water  (almost  the  only 
water  supply  of  New  Orleans).  Then  along 
Eoyal  Street  (the  Bue  Boyale  of  Cable's 
novel)  there  were  many  ancient-looking 
French  and  Spanish  houses.  Jackson  Square 
is  one  of  the  queerest  combinations  of  tropi- 
cal vegetation,  with  Old  World  dilapida- 
tion, it  is  possible  to  conceive.  In  the 
centre  of  the  square  is  the  statue  of  General 
Jackson,  surrounded  by  beds  of  roses,  and 
glowing  shrubs  of  all  kinds ;  while  palms, 
bananas,  palmettos,  the  sago  palm,  and 
other  tropical  plants,  form  a  rich  backing. 
Behind  these  are  the  crumbling  old  Spanish 
houses,  the  old  court-house,  and  other  build- 
ings falling  into  ruins,  giving  to  the  place 
quite  an  Old  World  character.  This  is 
one  of  the  most  unique  sights  in  New 
Orleans. 

There  are  many  interesting  place;  outside 
of  New  Orleans.  West  End  and  Spanish 
Fort  are  among  these.  A  few  views  have 
been  made  at  Spanish  Fort,  but  we  are 
waiting  till  the  short  Southern  winter  is 


over,  and  the  spring,  with  its  abundant 
vegetation,  shall  come,  before  making  more. 
I  finish  this  somewhat  rambling  article, 
after  having  made  some  very  successful 
negatives  of  the  Liberty  Bell,  which  is  here 
from  Philadelphia,  in  charge  of  three  of 
her  most  gigantic  policemen.  This  bell 
has  been  a  great  attraction  to  the  visitors 
from  all  parts,  and  it  was  most  difficult  to 
keep  the  people  out  of  the  picture.  Just  as 
we  were  getting  into  despair,  an  engine 
came  into  the  building,  and  ran  the  bell, 
truck,  and  policemen  out  into  the  grounds, 
where,  in  the  sunshine,  and  away  from  the 
crowd,  we  made  exposure  after  exposure, 
instantaneously,  till  all  the  holders  were  ex- 
posed, and  we  came  back  rejoicing.  I  hope 
in  my  next  to  be  able  to  tell  you  about  the 
great  Southern  festival,  Mardi  Gras,  which 
takes  place  this  month  about  the  17th.  We 
are  preparing  for  a  grand  field  day  with 
the  camera  on  that  date. 


PERTAINING  TO  THE 


Buffalo,  N.  Y.,  February  10,  1885. 

In  the  February  number  of  the  Phila- 
delphia Photographer,  is  a  letter  written 
by  T.  H.  Blair,  addressed  to  the  members  of 
the  P.  A.  of  A.,  sharply  criticising  the 
actions  of  some  of  the  officers  of  the  Cin- 
cinnati Convention. 

From  what  I  can  learn  of  the  manner  in 
which  the  business  was  transacted  by  some 
of  the  officers  last  year,  Mr.  Blair  has  just 
cause  to  complain,  and  no  one  feels  more 
keenly  the  dark  cloud  that  hangs  over  the 
Association,  caused  by  the  follies  of  the  year 
just  past,  than  do  the  officers  upon  whom 
the  responsibilities  of  the  coming  convention 
depend. 

None    has    worked    more    faithfully    to 


THE  PHILADELPHIA  PHOTOGKAPHEK. 


79 


prevent  a  repetition  of  those  objectionable 
features  tban  the  Executive  Committee,  who 
met  in  this  city  the  twelfth  of  last  month. 

So  far  as  I  am  personally  concerned,  I 
know  but  little  of  the  past  history  of  the 
Association  or  its  manner  of  doing  business, 
as  no  books,  papers,  or  records  of  any  de- 
scription have  come  into  my  hands  from  my 
predecessor. 

But  there  will  be  a  record  of  the  conven- 
tion of  "85''  that  the  officers  will  not  be 
ashamed  to  turn  over  to  their  successors,  and 
that  record  will  contain  all  their  business 
transactions  during  their  term  of  office. 

Plan. 

Instead  of  asking  for  contributions  from 
the  different  manufacturers,  dealers,  etc.,  we 
have  adopted  a  plan  founded  on  business 
principles. 

I  presented  to  the  Executive  Committee 
a  diagram  of  the  hall  where  the  convention 
will  be  held.  In  it  we  have  found  about 
twenty  thousand  square  feet  reserved  for  ex- 
hibitors of  photographic  goods  of  every  de- 
scription. By  charging  ten  or  fifteen  cents 
per  foot  according  to  locality,  an  amount 
will  be  realized  which  in  addition  to  dues 
will  probably  pay  all  necessary  expenses. 
No  one  can  reasonably  find  fault  as  every 
one  will  then  be  on  an  equal  footing,  and  a 
few  will  not  be  paying  the  whole  expense  of 
the  convention,  while  others  who  pay  very 
small  amounts  have  the  same  privileges  and 
the  same  room  for  exhibits. 

I  will  guarantee  that  any  man  who  sends 
me  an  order  for  five  hundred  or  a  thousand 
feet  will  receive  a  copy  of  the  diagram  of 
the  hall,  and  his  space  marked  on  it.  The 
same  will  also  be  reserved  on  the  original, 
which  I  will  keep.  When  that  man  comes 
to  the  hall  to  look  for  his  space  promised,  he 
will  not  find  it  occupied  by  another. 

A  number  who  have  become  familiar  with 
our  manner  of  carrying  on  the  coming  con- 
vention have  ordered  space,  some  taking 
over  a  thousand  feet.  It  will  be  well  for 
those  who  contemplate  an  exhibit  to  apply 
for  space  as  early  as  possible,  as  there  is  a 
good  prospect  of  its  being  taken  rapidly. 
Every  photographer  anticipating  to  attend 
the  Sixth  Annual  Convention,  will  know  be- 


forehand how  he  will  be  entertained  during 
his  stay. 

The  business  meetings,  and  those  for  the 
discussion  of  photographic  subjects,  reading 
of  papers,  etc.,  will  be  separate  one  from 
another. 

On  the  first  afternoon  there  will  be  papers 
read  and  discussions  on  practical  photog- 
raphy. The  evening  of  the  same  day  will 
be  devoted  to  an  exhibition  of  lighting  and 
posing  by  artificial  light.  All  arrangements 
have  been  made  and  subjects  secured  as  well 
as  parties  capable  of  managing  them.  This 
will  be  done  without  any  expense  to  the 
Association.  On  the  afternoon  of  the  second 
day,  a  question  box  will  be  provided,  and 
any  one  who  wishes  to  ask  questions  on  the 
subject  of  photography  can  do  so.  Eive 
minutes  only  will  be  allowed  for  answering 
such  questions. 

On  the  afternoon  of  the  third  day  there 
will  be  an  excursion  to  Niagara  Falls,  where 
the  photographers  of  America  can  sit  to- 
gether for  their  picture  with  the  grandest 
background  on  earth,  and,  in  the  evening 
can  view  the  great  falls  lit  by  electric  light, 
showing  all  the  colors  of  the  rainbow. 

The  afternoon  of  the  fourth  day  will  be 
devoted  to  the  discussion  of  prices,  and,  in 
the  evening,  there  will  be  a  grand  reception 
for  the  public.  Saturday,  being  the  last 
day,  will  be  spent  in  closing  up  business. 

All  this  will  be  carried  out,  as  we  have 
been  promised  papers  from  some  of  the  most 
scientific  photographers  in  the  world  whose 
names  will  be  published  in  due  time. 

In  addition  to  this,  we  are  promised  large 
exhibits  from  some  of  the  most  eminent 
photographers  of  New  York,  including 
Sarony,  Mora,  Anderson,  and  others,  who 
have  already  engaged  space. 

I  have  no  doubt  Boston,  Philadelphia, 
Chicago,  Cincinnati,  St.  Louis,  and  their 
sister  cities  will  contribute  liberally  as  they 
have  done  in  the  past. 

A  committee  has  also  been  appointed  to 
solicit  exhibits  from  Europe  and  the  conven- 
tion will  present  a  collection  of  artistic  work 
from  both  the  old  world  and  the  new,  never 
before  seen  at  one  time. 

The  photographer  who  does  not  embrace 
the  opportunity  of  attending  this  meeting 
will  always  regret  it. 


80 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


WHO  WILL  HELP  ? 

To  the  Editor. 

Dear  Sir  :  Will  you  kindly  publish  the 
enclosed  letter  in  your  next  issue,  and  assist 
us  in  placing  our  plans  fairly  before  the  pho- 
tographers of  ■America,  and  oblige, 
Yours  fraternally, 

H.  McMlCHAEL, 

Secretary. 

We  have  received  a  letter  from  Mr.  J. 
Landy,  full  of  good  suggestions  for  making 
the  next  convention  one  from  which  those 
who  cannot  come  as  well  as  those  who  can 
come  shall  receive  great  benefit. 

An  exhibition  and  "  a  good  time  "  are  not 
enough,  as  experience  has  taught  us.  To  be 
sure,  we  cannot  come  together  without 
mutual  benefit.  One  will  have  some  idea  or 
notion  which  he  will  tell  in  a  friendly  way 
to  some  one  else,  and  thus  much  valuable 
information  will  be  circulated,  and  we  are 
convinced,  though  the  last  convention  was 
not  just  what  it  should  have  been,  our  meet- 
ing was  not  without  its  good  effect.  But  I  am 
also  thoroughly  convinced  that  the  conven- 
tion might  be  made  of  much  more  value  and 
interest  to  all.  It  must  not  be  suffered  to 
degenerate  into  a  sort  of  scientific  picnic, 
but  must  have  the  character  of  a  scientific 
assembly,  and  be  conducted  throughout  on 
scientific  principles.  There  will  be  plenty 
of  opportunity  for  the  "  good  time." 

I  think  Mr.  Landy 's  idea  is  a  most  ex- 
cellent one.  He  proposes  that  papers  should 
be  read  or  lectures  given  on  a  variety  of 
subjects  connected  with  our  profession. 
Such  subjects  as  dry  plates,  photographic 
chemistry,  expression  in  portraiture,  light- 
ing and  posing,  printing  and  toning,  on  the 
use  of  lenses  for  different  kinds  of  work, 
business  management,  etc. 

We  shall  use  all  our  influence  to  get  this 
done.  Let  all  who  read  this  take  the  hint, 
and  prepare  themselves  to  give  the  fraternity 
the  benefit  of  their  knowledge. 

The  programme  as  published  is  not  quite 
complete.  The  committee  intends  to  perfect 
it  by  degrees,  and  to  publish  it  in  detail 
later. 

For  the  sake  of  our  art  and  our  honor, 
gentlemen,  put  your  hand  to  the  lens,  and 
focus  sharp. 


OBITUARY. 

WILLIAM  H.  EHOADS. 

One  of  the  gentlest,  kindliest  members  of 
our  fraternity  has  been  taken  from  the 
camera  to  go  where  the  sun  always  shines, 
and  where  the  prospect  is  more  beautiful 
than  here.  William  H.  Khoads,  of  Phila- 
delphia, died  at  Melrose,  Florida,  Tuesday, 
February  3d,  of  chronic  bronchitis. 

Many  of  the  older  members  of  our  fra- 
ternity knew-him  well,  and  highly  esteemed 
him.  Though  only  about  fifty  years  of  age, 
he  was  one  of  the  earliest  photographers  in 
this  city,  and  one  of  the  best.  He  was  a 
regular  attendant  upon  the  E".  P.  A.  Con- 
ventions, and  Local  Secretary  of  the  one 
held  in  this  city  in  1872.  His  pleasant  man- 
ner made  him  a  great  favorite.  Alas  !  too 
close  attention  to  business  broke  down  his 
health,  and  he  was  compelled  to  dispose  of 
a  fine  establishment,  and  fly  to  Florida  to 
recuperate.  He  recovered  his  health  par- 
tially, but  a  return  to  this  city  caused  him 
again  to  break  down,  and  again  to  appeal  to 
a  warmer  clime  for  help.  It  was  too-  late. 
He  passed  away  gently — conscious  to  the 
last — and  a  great  gap  is  left  in  our  circle  of 
warm,  personal  friends,  and  our  art  has  lost 
one  of  its  best  men.  Mr.  Ehoads  leaves  a 
wife,  son,  and  daughter. 


DOTS  OF  THE  DAY. 

Among  the  new  artistic  ideas  to  be  noted 
are  what  are  called  "At  Home"  pictures. 
People  nowadays  feel  that  their  rooms  are 
really  part  of  themselves,  or  that  they  are 
part  of  their  rooms,  whichever  you  prefer. 
So  now,  instead  of  coming  to  the  photogra- 
pher, the  photographer  goes  to  them.  He 
takes  with  him  a  supply  of  instantaneous 
plates,  poses  his  subject  in  his  or  her  own 
particular  armchair,  and  with  good  taste 
and  judgment  in  the  arrangement  of  the 
light  and  pose,  he  is  likely  to  secure  a  result 
far  removed  from  the  conventionalities  of 
the  el  gallery''  picture.  The  cost  is  not 
great,  and  I  find  there  is  a  growing  demand 
for  this  form  of  portrait.  I  am  educating 
my  artists  to  the  work,  and  occasionally  go 
myself. 

I  hardly  think  the  growing  taste  for  pho- 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


81 


tography  among  amateurs  hurts  the  regular 
business  much.  On  the  contrary,  I  think 
we  owe  much  to  the  amateurs.  The  num- 
ber of  thern  is  rapidly  increasing,  and  the 
work  of  some  of  the  more  experienced  com- 
pares favorably  with  that  of  the  best  profes- 
sionals. In  fact,  some  of  the  most  charming 
novelties  come  from  the  patient,  intelligent, 
leisurely  work  of  the  amateurs.  They  have 
an  advantage  over  the  professional  artist, 
both  in  the  choice  of  fine  subjects  and  the 
pursuit  of  scientific  experiments,  for  their 
time  is  their  own.  Their  society  here  has  a 
large  membership,  and  is  much  respected  in 
England,  where  their  work  goes  in  exchange 
for  that  of  the  European  societies.  Both 
here  and  in  England  the  most  aggressive  ex- 
perimentalists are  scientific  amateurs. 

Gr.  Gr.  KOCKWOOD. 

OUR  PICTURE. 

The  eyes  of  the  nation  are  uow  turned 
towards  the  World's  Industrial  and  Cotton 
Centennial  Exposition,  now  open  at  New 
Orleans.  Many  of  our  readers  will  visit  it, 
but  many  more  will  not  be  able  to  do  so. 
What  a  blessed  thing,  then,  is,  photography! 
When  the  people  cannot  go  to  the  Exposi- 
tion, then  photography  stands  ready  to  bring 
the  Exposition  to  the  people. 

Our  connection  with  the  1876  Exposition 
and  with  this  one  is  well  known.  The 
work  desired  from  us  in  neither  case  was 
strictly  that  of  a  photographer.  More  ser- 
vice than  that  has  been  exacted  from  us. 
Managers  of  Expositions  well  understand 
the  value  of  photography  as  an  advertising 
medium,  and  make  it  a  point  to  secure  a 
photographer  for  the  occasion  who  will  as- 
sist them  in  making  his  art  tell  as  a  means 
of  awakening  interest  on  the  part  of  the 
public,  especially  by  working  up  and  work- 
ing with  the  illustrated  press.  This  has 
largely  been  our  duty  in  connection  with 
the  New  Orleans  Exposition.  Were  it  not 
for  the  time  required  (even  with  numerous 
negatives)  to  print  enough  for  our  edition, 
we  should  have  intruded  an  example  of  our 
work  upon  our  readers  long  before  this. 

The  negatives  we  have  used  for  our  pic- 
ture this  month  were  made  in  December, 
with  a  Morrison  wide-angle  view  lens,  and 


an  American  Optical  Company's  camera, 
upon  Inglis  plates,  ammonia  developer. 
The  subject  is  a  portion  of  the  Exposition 
horticultural  gardens,  including  a  view  of 
Horticultural  Hall.  Those  of  our  readers 
who  live  in  the  cold  North  or  West  can 
compare  this  December  scene  with  their 
own  surroundings,  and — come  down  and 
see  the  reality  of  nature. 

The  day  was  lovely,  and  warm,  and  still. 
The  view,  to  us,  was  beautiful,  when  we 
compared  it  with  the  flat  swamp  which  we 
saw  a  few  months  before,  with  only  a  skel- 
eton building  on  a  part  of  it  then.  It  is 
far  more  beautiful  while  we  write  there- 
abouts, but  the  parts  included  in  our  picture 
are  no  more  beautiful  than  when  the  plates 
were  taken.  Indeed,  since  the  exposures 
were  made,  there  has  been  but  one  day 
when  they  could  be  repeated,  so  cloudy  and 
windy  has  the  "sunny  South"  been  ever 
since.  So,  after  all,  we  are  able  to  supply 
our  readers  with  a  rare  picture. 

The  charm  of  the  whole  Exposition  park 
is  the  groves  of  moss-garnished  live  oaks. 
They  are  magnificent  in  size,  in  form,  and 
in  proportion.  Though  so  picturesque,  they 
are  a  conundrum  to  the  photographer,  and 
it  took  us  a  long  time  to  understand  how  to 
secure  the  best  effects  from  them.  Ever- 
green leaves  and  gray  moss  make  a  hard 
combination  for  the  camera,  and  the  more 
so,  like  the  restless  palm  of  the  Orient,  the 
moss  is  rarely  still.  We  know  now  how  to 
catch,  sharp  and  quick,  the  most  tremulous, 
uneasy  fibre.  Thus  much  for  an  outdoor 
bit  of  the  Exposition.  Presently  we  shall 
supply  you  with  an  interior  that  may  prove 
of  more  interest  to  you. 

International  Expositions  are  not  easy  to 
photograph ;  or,  to  speak  more  exactly,  it 
is  not  easy  to  choose  from  them  a  bit  that 
will  please  the  whole  of  such  an  exacting 
class  as  that  which  reads  the  Philadelphia 
Photographer  from  month  to  month  and 
year  to  year. 

A  word  about  the  building,  and  we  are 
done.  It  is  600  feet  long  by  194  feet  through 
the  centre.  It  is  constructed  almost  entirely 
of  glass,  after  the  plan  of  Mr.  Arthur  E. 
liendle,  94  Broadway,  and  No.  10  Horatio 
Street,  New  York,  who  was  the  able  archi- 
tect.    The   glass   work   was   done   by  Mr. 


6 


82 


THE    PHILADELPHIA    PHOTOGRAPHER. 


Bundle's  patent  "  acme  glazing  "  (guaran- 
teed not  to  leak),  and  is  a  plan  well  worth 
the  consideration  of  photographers  about  to 
construct  skylights. 

California,  Florida,  and  Mexico  have 
done  their  best  to  make  the  grounds  beau- 
tiful with  plants,  shrubs,  and  trees ;  and 
while  we  write,  the  air  is  strong  with  the 
odor  of  hyacinths  from  Holland.  The 
prints  were  mainly  made  at  the  Exposition 
on  E.  &  H.  T.  Anthony  &  Co.'s  importa- 
tion of  N.  P.  A.  paper. 

SOCIETY  GOSSIP. 

Photographic  Society  or  Philadel- 
phia.— Minutes  of  the  regular  meeting, 
held  Wednesday  evening,  February  4,  1885. 
The  President,  Mr.  Joseph  W.  Bates,  in  the 
Chair. 

Mr.  Burroughs,  for  the  Committee  to  re- 
vise the  Constitution  and  By-Laws  prepara- 
tory to  incorporation,  read  a  draft  of  the 
Charter  and  By-Laws  as  recommended  by 
that  committee.  Action  in  the  matter  was 
deferred  until  the  next  stated  meeting. 

The  Lantern  Exhibition  Committee  re- 
ported that  arrangements  had  been  made 
for  an  exhibition  at  the  Franklin  Institute, 
on  the  evening  of  February  11th. 

Messrs.  Stephen  0.  Fuguet  and  Alphonse 
de  la  Forest  Fuguet  were  elected  active 
members  of  the  Society. 

Bules  in  relation  to  the  selection  of  an- 
nual presentation  pictures  for  distribution 
to  members  were  adopted,  which  provide 
that  the  competing  pictures  are  to  be  ex- 
hibited before  the  Society  at  the  May  meet- 
ing. The  Committee  are  to  announce  their 
choice  at  the  June  meeting,  having  exam- 
ined the  negatives  before  making  their  final 
decision.  Preference  is  to  be  given,  as  far 
as  possible,  to  prints  made  by  those  compet- 
ing, and  to  pictures  taken  within  one  year 
of  the  competition.  If  the  work  justifies  it, 
one  picture  is  to  be  chosen  from  the  work 
of  those  who  have  been  members  less  than 
two  years  prior  to  the  May  meeting  of  each 
year.  The  size  of  the  mounts  must  not  ex- 
ceed 11  by  14. 

A  question  in  the  box  asked,  "  What 
causes  blisters  on  silver  prints?     Is  there 


anything  I  can  do  to  prevent  or  cure 
them?" 

To  this  it  was  replied,  that  they  were 
generally  caused  by  strong  hypo  solution, 
or  from  the  fixing-bath  being  too  cold,  or 
varying  too  much  in  temperature  from  the 
toning-bath  and  washing  water.  Certain 
batches  or  brands  of  paper  were  more  liable 
to  the  trouble  than  others.  Immersion  in 
strong  solution  of  chloride  of  sodium  di- 
rectly after  fixing  would  sometimes  correct 
the  difficulty,  and  frequently,  if  the  blisters 
were  small,  they  would  disappear  on  drying. 

Mr.  Brown  said  that  at  the  last  meeting 
a  question  was  asked  as  to  the  cause  of  the 
albumen  being  removed  from  paper  by  the 
action  of  the  sensitizing  solution.  Various 
reasons  were  given  for  the  difficulty,  but 
in  this  particular  case  the  real  cause  of  the 
trouble  was  that  the  silver  solution  was  ex- 
cessively alkaline.  The  same  paper  that 
had  been  pronounced  worthless,  gave  good 
results  with  a  different  exciting  solution. 
While  on  the  subject  of  printing,  Mr. 
Browne  mentioned  that  he  had  recently  ex- 
amined a  large  number  of  prints  on  plain 
paper  made  as  early  as  1854.  These  prints 
were  found  to  be  in  excellent  condition,  the 
high  lights  free  from  yellowing,  and  but 
little  fading  observable  in  the  picture.  The 
same  could  not  be  said  of  prints  on  albumen 
paper,  as  photographs  dated  1862  showed 
the  effect  of  time  by  turning  yellow  and 
fading. 

Mr.  Carbutt  stated  that  Mr.  Browne's 
remarks  respecting  an  alkaline  printing 
bath  causing  the  albumen  to  leave  the 
paper,  brought  to  mind  among  some  of  his 
early  experiments  in  photography,  that  of 
preparing  an  ammonia  nitrate  solution  with 
which  to  sensitize  albumen  paper  by  swab- 
bing it  on  with  a  tuft  of  cotton. 

This  he  accomplished  by  taking  nine 
ounces  of  a  sixty  grain  solution  of  silver 
nitrate,  adding  strong  liquor  ammonia  until 
the  precipitate  first  formed  was  just  redis- 
solved,  then  adding  three  ounces  more  of 
the  silver  solution,  and  adding  nitric  acid, 
drop  by  drop,  until  the  turbidity  formed 
was  just  cleared  up.  By  sensitizing  in  this 
way  he  was  not  troubled  by  the  albumen 
leaving  the  paper. 

Mr.  Fassitt  had   prints   on    plain   paper 


THE  PHILADELPHIA  PHOTOGEAPHEE. 


83 


made  in  1855,  mounted  on  common  card- 
board, which  were  as  good  as  when  first 
made.  The  bath  used  was  the  old  ammonia 
nitrate  of  silver  bath.  Albumen  prints 
made  in  1860  had  faded  considerably,  but 
those  which  were  mounted  had  faded  most, 
indicating  that  the  paste  used,  or  something 
in  the  cardboard  acting  in  connection  with 
the  albumen,  was  a  cause  of  fading.  Much 
of  the  albumen  paper  of  the  present  day 
was  considered  to  have  qualities  unfavor- 
able to  permanence  in  prints. 

Specimens  of  work  on  Carbutt's  gelatino- 
chloride  opal  plates  were  shown,  having  a 
peculiarly  pleasing  warm  tone. 

A  number  of  lantern  slides  were  shown, 
many  of  them  on  chloride  plates,  which  in- 
dicated that  the  new  plate  affords  a  means 
of  producing  excellent  positives. 

The  slides  were  shown  on  the  screen  with 
one  of  Hughes's  phamphengos  lanterns  ex- 
hibited by  Mr.  Walmsley. 

Mr.  Walmsley  also  showed  a  quarter 
size  camera  and  some  lenses,  all  of  Beck's 
make,  which  were  models  of  beautiful  and 
effective  workmanship. 

Prints  were  shown  by  Messrs.  Tatham, 
Wood,  and  Vaux.  Those  by  Mr.  Tatham 
were  instantaneous  views  taken  on  promi- 
nent streets  in  Philadelphia,  a  large  num- 
ber having  been  exposed  from  a  cab 
window.  The  utter  unconsciousness  shown 
by  the  figures,  many  of  whose  forms  or 
faces  were  familiar  ones,  proved  the  success 
of  this  capital  plan  for  making  a  class  of 
pictures  impossible  to  get  where  the  ope- 
rator is  visible.  The  lens  used  was  a  Dall- 
meyer  rapid  rectilinear  8J  inch  equivalent 
focus,  with  stop  11£.  The  shutter  of  the 
camera  was  of  the  ordinary  guillotine  form, 
the  necessary  speed  being  attained  by  strong 
rubber  bands.  Inglis's  extra  rapid  plates 
were  used,  with  pyro  and  potash  developer. 
Before  development  the  plates  were  soaked 
in  a  dilute  potash  solution.  The  developer 
was  strong  with  both  pyro  and  alkali. 

Adjourned. 

Forty-one  members  and  two  visitors 
present.  Robert  S.  Redpield, 

Secretary. 

Association  op  Operative  Photogra- 
phers, 392  Bowery,  New  York,  January 
7,  1885.     President  Buehler  in  the  Chair. 


Reading  of  the  previous  minutes  dis- 
pensed with.  Various  journals  received, 
with  thanks  of  the  Association. 

Mr.  Van  Sothern,  of  Willett's  Point, 
was  elected  a  member  by  acclamation. 

Mr.  Duchochois  read  a  paper  on  Chem- 
istry as  applied  to  Photography,  accom- 
panying his  lecture  with  experiments. 

Mr.  Hallenbeck  brought  to  the  notice  of 
the  Association  the  death  of  Mr.  Henry 
McBride,  who  was  the  first  man  to  make  a 
daguerrotype  of  Niagara  Falls  many  years 
ago. 

During  the  reading  of  Mr.  Duchochois's 
paper,  Mr.  Hallenbeck  said  that  Mr.  O'Neil 
added  muriatic  acid  to  nitrate  of  silver  in 
his  sensitive  silver  bath,  forming  a  precipi- 
tate ;  redissolved  some  of  it,  and  there  was 
some  left  in  the  bottom  of  the  bottle. 

Mr.  Buehler  :  I  knew  he  used  chloride  in 
the  silver  bath.  We  use  iodide  in  the  silver 
bath  to  counteract  the  free  use  of  nitrate  of 
silver.  I  hope  every  gentleman  here  has 
appreciated  Mr.  Duchochois's  clear  and  ex- 
plicit lecture  on  chemistry.  1  think  that 
he  deserves  all  the  thanks  the  Association 
can  give  him. 

Mr.  Duchochois,  while  speaking  of  the 
properties  of  iodine,  remarked  that  its  com- 
bination with  nitrogen  formed  a  very  ex- 
plosive compound  of  the  formula  NI3,  which 
would  detonate  at  the  slightest  touch.  He 
also  said  that  a  combination  of  iodine  with 
ammonia  was  a  good  solvent  of  silver  stains. 

Yon  Sothern :  At  the  last  meeting,  Mr. 
Cooper  mentioned  an  experiment  of  his, 
consisting  of  the  application  of  a  ten-grain 
solution  of  soda  carbonate,  to  a  gelatine 
plate,  after  exposure  and  before  develop- 
ment, for  the  purpose  of  eliminating  the 
free  bromine.  Mr.  Cooper  and  myself  are 
of  the  same  opinion  with  Mr.  Duchochois, 
who  doubts  the  formation  of  a  subsalt  during 
exposure,  and  I  personally  prefer  the  theory 
of  Dr.  Eder  and  other  prominent  investi- 
gators, that  the  effect  of  light  on  a  gelatine 
film  brings  about  a  perfect  liberation  of  the 
bromine  from  the  affected  molecules  of  silver 
bromide,  leaving  the  silver  in  a  metallic  but 
slightly  oxidized  state.  If  a  plate  so  exposed 
is  placed  directly  in  the  developer,  the  free 
bromine  will  mix  with  the  reducing  agents 
and  act  as  a  retarder ;  but  if  a  dilute  solution 


84 


THE  PHILADELPHIA  PHOTOGKAPHEK. 


of  soda  carbonate,  or  very  dilute  ammonia, 
be  applied  previous  to  development,  tbe 
bromine  would  be  taken  up  by  those  solu- 
tions as  bromide  of  sodium  or  ammonium 
respectively,  and  could  easily  be  removed  by 
subsequent  washing.  This  theory  seems  to 
be  true  in  practice,  a  plate  so  treated  show- 
ing a  greater  amount  of  detail  in  the  shadows 
and  more  density  than  if  developed  directly 
with  the  bromine  left  in  the  film.  As  am- 
monia combines  directly  with  the  bromine, 
I  think  its  application  rather  more  rational 
than  that  of  soda  carbonate,  and  would 
recommend  its  use  in  the  proportion  of  ten 
drops  to  four  ounces  of  water.  The  action 
with  either  solution  is  complete  in  thirty 
seconds,  and  there  does  not  seem  to  be 
much  difference  between  the  results.  The 
chemical  reaction  with  soda  carbonate  is  prob- 
ably thus:  2Ag+2Br+2Na2C03+H20  = 
2NaHCO,+2NaBr+2Ag+0;  while,  with 
ammonia,  it  would  simply  stand :  Ag+Br-j- 
JSTH3  ==  JSTHgBr+Ag.  In  case  that  sufficient 
exposure  has  been  given,  this  small  amount 
of  bromine  may  be  desirable,  or  even  neces- 
sary to  keep  the  development  under  control ; 
but  if  a  plate  is  known  to  be  under- timed,  I 
would  strongly  recommend  to  treat  it  as  de- 
scribed. I  consider  Mr.  Cooper's  suggestion 
very  ingenious,  and  the  subject  worthy  of 
careful  investigation.  The  results  of  my 
experiments  corroborate  the  correctness  of 
the  theory  in  every  particular. 

Mr.  Duchochois :  I  doubt  whether  the 
effect  of  light  on  the  film  produces  metallic 
silver.  I  think  the  chemical  or  molecular 
change  is  slightly  different,  though  very  diffi- 
cult to  explain.  No  development  could  take 
place  if  the  silver  existed  in  a  metallic  state. 

Yon  Sothern:  My  opinion  is  that  the 
atoms  of  metallic  silver  formed  during  ex- 
posure become  at  once  slightly  oxidized  on 
account  of  the  extremely  fine  state  of  their 
subdivision;  that  the  oxygen  absorbed  in 
the  developor,  either  pyro  or  ferrous  oxalate,- 
restores  them  to  their  former  or  metallic 
state,  and  that  they  thus  form  the  nuclei  or 
media  for  further  development  by  a  sort  of 
electrolytic  action,  which  Dr.  Eder  explains 
by  his  maxim  that  bromide  of  silver  cannot 
exist  in  contact  with  freshly  precipitated 
metallic  silver,  but  will  also  be  reduced  to 
the  metallic  state. 


Mr.  Buehler :  Do  you  admit  that  bromine 
is  liberated  when  the  action  of  light  has 
taken  place? 

Von  Sothern:  I  do.  I  believe  that  the 
liberation  of  iodine  or  bromine  during  ex- 
posure is  chemically  complete,  though  the 
microscope  fails  to  detect  the  molecular 
change.  In  the  wet-plate  process  the  liber- 
ated iodine  combines  with  the  free  silver 
nitrate  in  and  on  the  film  and  forms  fresh 
iodide  of  silver.  In  case  of  a  gelatine  plate, 
I  believe  that  the  free  bromine  is  held  cap- 
tive by  the  gelatine  and  displaces  oxygen, 
which  combines  with  the  silver. 

Feb.  4. — Von  Sothern:  I  should  like  to 
remind  the  members  present  of  a  process 
which,  though  not  new,  is  but  little  known, 
and  seems  to  have  entirely  fallen  into  oblivion. 
In  1879  I  described  the  process  at  length  in 
the  St.  Louis  Practical  Photog?-apher,  and 
two  years  later  a  German  engineer  published 
it  in  the  Scientific  American  as  his  latest 
invention.  I  refer  to  the  reproduction  of 
negatives  directly,  and  without  the  medium 
of  a  transparency ;  and  to  the  production  of 
lantern  slides  or  transparencies  directly  from 
a  drawing,  from  any  picture,  or  from  nature, 
by  means  of  collodio-bromide  emulsion. 
The  process  is  as  simple  as  reliable,  and  gives 
the  finest  results.  Let  us  suppose  that  you 
want  to  make  a  lantern  slide  from  a  map  or 
architectural  drawing.  Focus  the  picture 
as  you  would  for  a  negative;  making  it, 
however,  of  the  exact  size — say  three  inches 
square;  coat  a  plate  with  emulsion;  wash 
out  the  solvents,  and  expose  at  once,  giving 
about  five  times  the  exposure  required  for  a 
bath  plate.  Develop  in  the  ordinary  way 
with  either  silver  or  pyro  or  ferrous  oxalate, 
though  I  prefer  the  former  on  account  of  the 
fine  color  of  .the  deposit.  You  now  have  a 
negative  in  metallic  silver  on  the  surface  of, 
and  in  absolute  contact  with,  a  sensitive  film 
of  unaltered  silver  bromide.  It  is  obvious, 
then,  that  if  such  a  plate  were  exposed  to 
light,  a  diapositive  would  be  formed  under 
the  negative.  To  obtain  this  result,  wash 
the  plate  carefully;  place  it,  face  up,  on  a 
board  covered  with  black  cloth,  and  expose 
it  for  two  or  three  seconds,  according  to  the 
intensity  of  the  superficial  negative,  to  actinic 
light;  taking  care,  however,  that  the  rays 
fall  on  it  as  vertically  as  possible.     Now  re- 


THE   PHILADELPHIA    PHOTOGEAPHEE. 


85 


turn  to  the  dark-room,  and  pour  over  the 
film  some  strong  nitric  acid ;  or,  better,  in 
order  to  avoid  the  obnoxious  fumes,  immerse 
it  in  a  vertical  bath  by  means  of  a  glass  or 
porcelain  dipper.  This  will  at  once  dissolve 
the  metallic  image  from  the  surface  without 
affecting  the  silver  bromide  below.  Next 
wash  well ;  neutralize  any  trace  of  acid  left 
in  the  film  by  applying  some  solution  of 
carbonate  of  soda,  and  then  develop  once 
more.  When  all  details  are  out,  wash,  fix 
in  either  hypo  or  cyanide,  and,  if  necessary, 
clear  in  an  acid  alum  bath.  The  result  is  a 
transparency  of  exquisite  sharpness,  clear 
light,  and  fine  tone ;  and  the  whole  transfor- 
mation does  not  take  as  long  as  it  took  me 
to  describe  it.  For  copying  a  negative,  by 
either  contact  or  transmitted  light,  the  modus 
operandi  is  precisely  the  same.  On  the  first 
development  you  obtain  a  transparency 
which  you  subsequently  transform  into  a 
negative. 

Vote  of  thanks  given  to  Mr.  Duchochois. 
Yours  respectfully, 

T.  W.  Powers, 

Secretary. 

The  Kochester  Photographic  Asso- 
ciation.—At  a  meeting  of  the  Kochester 
Photographic  Association,  held  January 
26th,  the  following  paper  on  "  Landscape 
Photography "  was  read  by  Mr.  Peter 
Mawdsley,  who  prefaced  the  reading  with 
the  remarks  that  it  was  not  his  purpose  to 
enter  into  a  long  disquisition  on  art  in  re- 
lation to  photography,  but  rather  to  offer  a 
few  hints,  the  results  of  observation  in  his 
own  practice.  One  great  end  of  all  papers 
read  before  this  Society  was  to  excite  dis- 
cussion amongst  the  members,  and  with 
this  idea  in  mind  he  had  divided  his  subject 
into  "Pour  Heads." 

First,  "Selection  of  View."  The  fore- 
ground really  constituting  the  picture,  it  is 
important  that  its  details  should  be  given 
due  prominence  on  the  plate — mid-distance 
and  distance  are  insufficient  of  themselves 
to  form  a  pleasing  picture,  but  judiciously 
combined  with  foreground,  and  accessory 
to  it,  will  give  an  artistic  whole  which  will 
always  gratify  the  eye.  Horizontal  lines 
should  be  avoided.  When  such  occur,  the 
camera  should  be  moved  to  right  or  left, 


and  when  that  is  not  convenient,  the  objec- 
tionable feature  should  be  hidden  or  broken 
up  by  the  introduction  of  any  movable  ob- 
ject which  may  assist  to  do  so  ;  a  branch  of 
a  tree  or  brushwood  is  generally  within 
reach.  I  have  found  a  wheelbarrow,  horse 
and  cart,  or  one  or  more  figures,  suitably 
placed,  do  good  service.  In  photographing 
buildings  never  be  satisfied  with  a  mere 
front  elevation,  but  see  that  it  goes  off  in 
perspective,  and  in  such  cases  particularly 
avoid  an  unbroken  expanse  of  lawn  or  grass 
land;  a  few  garden  implements — lawn 
mower,  etc. — will  be  of  great  service. 

Second,  "Lighting."  Where  possible,  I 
should  prefer  to  have  the  light  from  over 
the  right  or  left  shoulder,  as  the  cast  shadows 
give  great  crispness  and  briliancy.  Never 
photograph  with  the  sun  directly  behind 
you,  as  the  result  would  be  excessively  flat, 
all  light  and  no  shadows  at  least  visible. 
Whilst  in  pure  landscape  the  above  rules 
will  generally  hold  good,  in  seascapes,  on 
the  other  hand,  I  should  prefer  to  have 
the  lighting  obliquely  from  the  front,  as 
owing  to  the  large  volume  of  reflected 
light  the  shadows  would  be  well  illuminated 
and  the  reflections  more  brilliant.  A  first- 
class  ship  under  full  sail  taken  under  such 
conditions  would  be  a  charming  object. 
What  1  have  said  relative  to  seascapes  will 
generally  apply  to  photographing  snow 
and  ice. 

Third,  "Lenses."  For  pure  landscape 
and  seascape  there  is  none  better  than  the 
old  miniscus  view  lens,  the  only  objection 
being  its  bulk,  which  is  very  great  com- 
pared with  modern  compound  forms.  It  is 
preferable  to  include  only  a  small  angle  of 
view,  and  to  do  this  a  lens  having  a  focus 
half  as  long  again  as  the  base  line  of  the 
picture  should  be  used ;  foreground  and 
distance  will  be  in  harmony,  whereas  if  a 
wide  angle  lens  is  used  the  foreground  will 
appear  unduly  magnified  and  the  distance 
dwarfed ;  this  is  characteristic  where  the 
background  is  formed  by  a  lofty  range  of 
mountains,  and  is  particularly  objection- 
able. Most  compound  lenses  are  so  con- 
structed as  to  admit  of  the  front  combina- 
tion being  used  alone,  and  as  this  will 
approximately  double  the  focus,  a  smaller 
ana-le  of  view  will  be  included. 


86 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


Fourth,  "  Development."  In  subjects 
from  which  the  lighting  or  other  conditions 
are  wanting  in  contrast,  a  strong  developer 
which  quickly  brings  printing  density  will 
strengthen  the  high  lights  and  deepen  the 
shadows.  On  the  other  hand,  with  subjects 
largely  and  deeply  in  shadow,  by  using  a 
minimum  of  the  developer  largely  diluted, 
say  with  two,  three,  or  more  volumes  of 
water,  giving  time  and  patience  to  the  ope- 
ration, will  result  in  a  negative  the  high 
lights  of  which  are  not  unduly  dense,  and 
an  amount  of  vigorous  detail  will  be  secured 
in  the  shadows  which  no  other  development 
(so  far  as  my  experience  goes)  will  give. 

Mr.  Larned  moved  a  vote  of  thanks  be 
tendered  Mr.  Mawdsley  for  his  very  inter- 
esting and  instructive  paper,  which  was 
carried. 

It  was  also  moved  and  seconded  that  a 
vote  of  thanks  be  given  to  Messrs.  E.  &  H.  T. 
Anthony  &  Co.  for  the  very  generous  supply 
of  Anthony's  Photographic  Bulletin,  and 
also  to  the  Scovill  Manufacturing  Com- 
pany for  their  kindness  in  furnishing  the 
Society  with  a  volume  of  their  very  valu- 
able journal  for  1884. 

Mr.  Dumont  exhibited  four  12  by  15 
genre  pictures  produced  by  Mr.  SmitherSj 
of  Glasgow,  and  also  two  others,  one  by 
Mr.  Mawdsley,  representing  a  scene  in 
Wales,  and  the  other  by  Mr.  Dumont,  an 
instantaneous  view  taken  from  the  deck  of 
a  rapidly  moving  steamer  when  the  lens 
was  pointed  almost  directly  to  the  sun,  and 
the  detail  is  brought  out  of  the  shadows. 


REVIEW  OF  PHOTOGRAPHS  IN 
PHILADELPHIA  PHOTOG- 
RAPHER FOR  1884, 

(July,  August,  and  September.) 

BY  CHARLOTTE  ADAMS. 

The  idea  of  pictorial  photography  is  one 
that  is  capable  of  being  developed  to  an  in- 
definite extent.  Up  to  the  present  time, 
photographers,  as  a  class,  have  only  admit- 
ted the  pictorial  element  into  their  work  as 
an  accessory  to  the  exigencies  of  portraiture. 
Only  occasionally  do  we  meet  with  photo- 
graphic compositions  which  we  may  accept 
as  being  in  themselves  attractive  pictures, 


without  reference  to  the  matter  of  portraiture 
or  truthful  reproduction  of  given  objects. 
There  is  no  reason,  however,  why  this 
branch  of  photography  should  not  occupy 
the  attention  of  skilled  operators  with  a 
bias  toward  the  artistic  side  of  the  profes- 
sion. Photographic  pictures  of  good,  artis- 
tic quality,  ought  to  sell  as  readily  on  their 
own  merits  for  decorative  purposes  as  the 
many  photographs  of  mediocre  oil-paintings 
which  fill  the  shops,  and  are  eagerly  caught 
up  by  the  public.  A  good  original  photo- 
graph should  possess  fully  as  much  artistic 
or  decorative  value  as  a  bad  reproductive 
one,  apart  from  the  interest  of  the  subject. 
Professional  photographers  may,  in  the 
matter  of  pictorial  arrangement  and  com- 
position, gain  valuable  hints  from  artists 
who  are  amateurs  of  photography.  With 
them  the  pictorial  effect  and  the  pictorial 
motif  are  the  first  things  to  be  considered  in 
their  photography.  Photography  to  them 
is  simply  one  more  medium  of  expression, 
and  they  handle  it  as  freely  as  their  limited 
technical  knowledge  will  permit,  embody- 
ing the  ideas  which,  under  ordinary  circum- 
stances, they  would  put  into  oil-  or  water- 
color.  Artists  aim  at  making  photographic 
pictures:  photographers,  as  a  general  thing, 
are  satisfied  with  giving  literal  reproductions 
of  objects  indicated.  Fine  opportunities 
are  afforded  in  this  kind  of  work  for  the 
display  of  the  artistic  knowledge  of  the  pho- 
tographer. Every  operator  will  find  it  to 
his  advantage  to  cultivate  the  artistic  side 
of  his  profession  for  practical  application, 
and  no  better  way  of  stimulating  his  intel- 
ligence can  be  found  than  the  habit  of  pro- 
ducing pictorial  photographic  compositions. 
It  develops  the  creative  as  well  as  the  me- 
chanical and  technical  instinct.  It  is  of 
the  same  value  to  the  photographic  student 
that  the  "composition  class"  of  the  most 
advanced  American  art-schools  is  to  the  art- 
student.  It  is  very  possible  that  the  time 
may  come  when  pictorial  photographs  will 
be  valued  for  their  own  sakes,  and  a  pho- 
tographer who  possessed  the  necessary  art 
knowledge,  combined  with  the  ability  to 
give  time,  thought,  and  capital  to  this 
branch  of  the  art,  might  soon  achieve  dis- 
tinction and  win  substantial  profit.  End- 
less combinations  and  suggestions  present 


THE  PHILADELPHIA  PHOTOGEAPHEE. 


87 


themselves  to  the  mind  equipped  with  keen 
artistic  perceptions. 

An  excellent  example  of  pictorial  pho- 
tography is  afforded  by  the  plate  accom- 
panying the  July  number  of  the  Phila- 
delphia Photographer,  called  "Gret- 
chen."  It  forms  in  itself  a  complete  picture, 
without  reference  to  portraiture,  literary 
interpretation,  or  literal  reproduction.  The 
name  gives  the  keynote  of  the  composition. 
The  young  German  peasant  girl,  seated 
among  her  birds,  is  not  the  Gretchen  of 
Goethe,  nor  is  she  meant  to  be.  She  simply 
offers  a  modern  artistic  decorative  sugges- 
tion of  a  motif  common  to  nineteenth  cen- 
tury art  and  literature  since  the  poet  of 
Weimar  embodied  in  it  the  characteristics 
of  a  national  type.  The  ideal  side  of  the 
type  does  not  enter  into  this  composition 
We  have  here  simply  a  consistent,  well- 
balanced,  decorative  scheme,  in  which  the 
pictorial  element  is  stronger  than  any  other. 
The  fair-haired  German  girl,  in  her  peasant 
costume,  poses  with  ease  and  grace,  and 
small  trace  of  self-consciousness,  in  the 
middle  of  the  composition,  seated  on  a  pho- 
tographic accessory,  which  is  a  very  good 
reproduction  of  one  of  the  stone  fireplaces 
seen  in  many  parts  of  Europe.  The  acces- 
sories of  the  large  pot  depending  from  the 
crane,  the  chimney  projecting  over  it  with 
the  bunches  of  herbs  fastened  at  regular 
intervals,  are  consistent  factors  in  the  deco- 
rative scheme.  The  large  pillar  behind  the 
figures  diversifies  the  dark  space  of  the 
background  agreeably ;  and,  although  nu- 
merous short  broken  lines  are  visible  on  its 
surface,  they  do  not  obtrude  themselves  un- 
pleasantly. The  tame  raven  on  the  beer- 
jug  is  a  very  good  accessory,  and  the  jug 
itself  is  of  a  kind  associated  with  the  idea 
of  German  popular  life.  The  only  detail  of 
accessory  in  the  composition  which  strikes 
the  beholder  as  being  out  of  keeping  with 
the  general  idea  of  the  picture  lies  in  the 
character  of  the  shoes,  which,  in  shape  and 
style,  do  not  harmonize  with  the  rest  of  the 
peasant  maiden's  costume.  Wcoden  shoes 
or  sabots  could  have  been  easily  procured 
by  the  photographer,  and  would  have  added 
much  to  the  artistic  completeness  of  the 
composition.  This  plate  is  very  well  lighted ; 
the  light,   in   accordance  with   the  artistic 


interest,  being  focussed  on  the  principal 
figures,  and  merging  into  the  shadows  above 
and  about  it.  The  various  kitchen  utensils 
and  pieces  of  furniture  that  form  the  acces- 
sories are  given  their  due  value,  but  are 
nevertheless  properly  subordinated  to  the 
figure,  The  masses  of  lights  and  darks  are 
distributed  with  evenness  and  due  sense  of 
their  relative  values.  The  white  mass  of 
the  figure  is  saved  from  monotony  of  effect 
by  the  dark  bodice,  which  gives  the  keynote 
to  the  background  and  some  of  the  acces- 
sories, including  the  raven.  This  dusky 
bird  forms  an  admirable  accent  in  the  com- 
position, and  is  placed  exactly  where  he 
does  the  most  artistic  good,  being  thrown 
into  relief  by  the  light  tones  of  the  jar  and 
the  half  tones  of  the  fireplace.  The  dazzling 
whites  of  the  girl's  garments  and  limbs  are 
repeated  in  the  figures  of  the  three  white 
doves,  which  are  well  composed  in  relation 
to  the  figure,  and  the  white  beer-jug  on 
which  the  raven  is  perched.  In  half  tones 
we  have  the  fireplace,  some  of  the  birds, 
and  sundry  accessories.  The  scheme  of 
tone  is,  as  a  whole,  very  satisfactory.  A 
word  must  be  said  of  the  skilful  manner  in 
which  the  photographer  has  handled  those 
accessories  so  difficult  to  manage — the  birds. 
There  is  little  trace  of  awkwardness  or  stiff- 
ness in  their  positions,  and  they  have  a  life- 
like, alert  air,  which  seldom  appears  in 
photographic  reproductions  of  stuffed  birds. 
Persons  interested  in  pictorial  photography 
may  study  this  plate  with  advantage,  both 
for  artistic  and  technical  suggestions. 

American  photographers  are  undoubtedly 
very  successful  in  the  line  of  plastic  pho- 
tography. They  not  only  surmount  the 
technical  difficulties  of  such  work  in  a  credit- 
able manner,  but  they  infuse  into  it  a  sur- 
prising amount  of  classic  sentiment.  One 
would  fancy  that  they  had  steeped  them- 
selves in  an  atmosphere  of  antique  art  and 
literature,  instead  of  merely  mechanically 
following  a  contemporary  photographic 
fashion  which  travels  in  the  wake  of  the 
recent  national  art  movement.  An  ad- 
mirable illustration  of  this  is  presented  by 
the  plate  accompanying  the  August  num- 
ber, the  "Daughter  of  Danaus,"  a  panel- 
shaped  photograph,  showing  a  young  wo- 
man  in    white   classic   robes,  holding   the 


THE    PHILADELPHIA    PHOTOQEAPHEE. 


symbolical  jar  which  explains  the  character. 
This  is  an  original  piece  of  plastic  photo- 
graphic art,  conceived  and  executed,  cre- 
ated, in  truth,  by  the  photographer  himself. 
It  is  comparatively  easy  for  the  operator  to 
handle  a  subject  such  as  Mary  Anderson  or 
Mrs.  Langtry  or  some  other  actress  trained 
to  plastic  poses  and  to  the  graceful  wearing 
of  classic  robes,  those  same  robes  being  de- 
signed and  draped  on  the  fair  wearers  by 
artists  of  repute  or  specialist  costumers. 
Half  the  credit  of  the  beauty  of  the  photo- 
graph belongs  to  the  actress  and  the  artist. 
A  plate  like  the  "Daughter  of  Danaus" 
reflects  credit  upon  the  photographer  only. 
He  must  choose  and  perhaps  design  the 
classic  costume,  must  select  the  subject,  in- 
vent the  pose,  arrange  the  draperies,  and 
school  the  model  in  the  thousand  and  one 
plastic  details  which  only  artists  under- 
stand. 

The  photographer  who  can  conceive  and 
execute  such  a  plate  as  the  "Daughter  of 
Danaus"  must  be  well  equipped  with  artis- 
tic technical  knowledge  and  the  artistic 
instinct  which  intuitively  expresses  itself 
in  symmetrical  plastic  forms.  The  shape 
of  this  plate  is  very  happy.  The  panel 
form  affords  background  enough  to  throw 
the  figure  into  relief.  The  solidity  of  tone 
shown  in  this  background  adds  much  to  the 
effect  of  unity  visible  in  the  composition. 
The  statuesque  idea  is  consistently  carried 
out  from  the  head  of  the  figure  to  the 
pedestal  on  which  it  rests.  The  drapery  is 
gracefully  arranged,  and  good  in  respect  to 
technical  reproduction,  being  well  graded 
in  the  matter  of  light  and  shade.  The  arms 
and  neck  are  firmly  modelled ;  the  face  is 
at  once  sculpturesque  and  expressive,  well 
carrying  out  the  idea  of  a  living  statue 
which  inspires  the  composition.  The  pose 
is  easy,  natural,  and  sufficiently  suggestive 
of  the  antique,  and  there  is  in  the  composi- 
tion, as  a  whole,  a  modern  quality  which 
does  not  detract  from  its  artistic  value  and 
adds  much  to  its  human  interest.  The 
lighting  of  the  figure  is  skilfully  managed. 

A  really  beautiful  piece  of  plastic  pho- 
tography is  shown  in  the  plate  accompany- 
ing the  September  number  of  the  Photog- 
rapher: a  large  female  head  and  shoulders, 
of  classic  character,  statuesque  in  idea  and 


execution,  and  yet  full  of  warm,  glowing 
life,  and  essentially  modern  in  significance. 
This  photograph  has  a  double  value — that 
of  admirable  technique  and  execution,  and 
that  of  spiritual  and  mental  meaning.  Here 
again  we  have  the  subjective  element  in 
photography  present  in  equal  proportion 
with  the  objective.  The  character  and  in- 
dividuality of  the  subject  have  occupied  the 
photographer's  thoughts  as  much  as  the 
lines  and  curves  of  the  head  and  body.  The 
plastic  quality  is  not  allowed  to  overshadow 
the  intellectual  in  this  graceful  intelligent 
female  head.  The  loveliness  of  the  outward 
forms  is  here  symbolic  of  the  inner  beauty 
of  keen  intellect  and  delicate,  womanly  ap- 
preciation of  the  higher  side  of  life's  ex- 
perience. What  first  impresses  the  person 
who  studies  this  plate  is  the  artistic  charac- 
ter of  the  lighting,  by  which  the  high  lights 
are  focussed  on  the  draperies  at  the  lower 
part  of  the  photograph  and  the  neck,  while 
the  head  and  face  are  thrown  into  dark, 
strong  relief.  This  is  a  difficult  problem 
in  lighting,  skilfully  solved  by  the  photog- 
rapher. The  artistic  interest  in  this  plate, 
of  course,  centres  in  the  head.  The  pho- 
tographer has  concentrated,  not  the  lights, 
but  the  shadows  on  the  head,  giving  it  a 
vigorous  individuality  which  would  have 
been  lost  had  the  head  been  in  light  and 
the  rest  of  the  plate  in  shadow,  presuppos- 
ing, as  a  sequence,  the  existence  of  a'  dark 
background.  Accent,  in  every  kind  of 
pictorial  representation,  imparts  an  effect 
of  strength  and  decision,  and  this  artistic 
principle  could  not  be  better  illustrated 
than  by  this  photograph,  with  its  harmo- 
nious and  striking  relations  of  light  and 
shade.  The  masses  of  lights  and  darks  are 
uncommonly  well  balanced.  The  white  of 
the  drapery,  neck,  and  arms,  shading  into 
half  tones  that  are  repeated  by  the  back- 
ground, is  consistently  carried  out  in  the 
three  white  fillets  binding  the  hair.  They 
are  really  in  half  tones,  but  so  harmonious 
in  effect  that  they  impress  one  with  a  sense 
of  brilliant  positive  whiteness.  The  fine 
quality  of  relief  offered  by  this  head  should 
be  particularly  noticed.  It  is  the  result  of 
the  excellent  lighting.  Subtlety  of  tone  is 
another  of  its  merits.  The  modelling  of 
the  face,  arm,  and  neck  leaves  nothing  to 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


89 


desire.  The  neck  especially,  with  its  firm- 
ness and  softness  of  texture,  is  a  triumph  of 
photographic  skill.  The  folds  of  the  drapery- 
are  crisply  and  vigorously  handled.  Very 
tender  and  delicate  are  the  curves  of  profile, 
chin,  and  throat,  melting  away  into  the 
background  in  a  manner  which  is  seldom 
found,  as  here,  united  with  photographic 
sharpness  and  accuracy.  The  hair  is  treated 
with  unusual  skill,  being  kept  sufficiently 
broad,  and  preserving  all  its  rich  effect  of 
color,  while  resolving  itself  into  countless 
minor  details.  The  effects  of  outline  and 
curve  in  this  plate  are  most  graceful.  The 
ensemble  is  characterized  by  the  sharpness 
and  clearness  of  impression  which  form  the 
basis  of  a  good  photographic  technique  in 
the  same  way  that  correct  drawing  is  an 
absolute  essential  of  an  artistic  technique. 
( To  be  continued.) 


EXHIBITION  OF  LANTEEN 
SLIDES 

By  the  Photographic  Society  oe  Phila- 
delphia. 

Hating  frequently  heard  of  the  excellent 
work,  of  the  members  of  the  Photographic 
Society  of  your  city,  and  on  two  occasions 
having  had  the  privilege  of  seeing  their 
productions  at  the  exhibition  of  the  Boston 
Amateur  Society,  it  was  with  pleasure  that 
I  received  your  kind  invitation  to  attend 
upon  the  evening  of  February  11.  I  went, 
in  full  anticipation  of  witnessing  a  fine  dis- 
play, and  I  am  happy  to  say  that  my  ex- 
pectations were  more  than  realized.  True, 
the  small  hall  was  by  no  means  adequate  to 
the  overflow  of  spectators,  nor  were  the  ac- 
commodations for  an  exhibit  everything 
which  could  be  desired;  nevertheless,  the 
skilful  manner  in  which  the  views  were  pro- 
jected upon  the  screen  by  the  dissolving 
lantern  atoned  amply  for  the  petty  inconve- 
niences. About  one  hundred  and  fifty  slides 
were  shown,  made  from  negatives  which  had 
been  exposed  and  developed  by  the  members. 
The  name  of  the  photographer  and  the  title 
were  announced  as  each  was  thrown  upon 
the  screen. 

The  series  opened  with  a  magnificent  ma- 
rine view  by  F.  T.  Fassett,  representing  a 


bow  view  of  a  coasting  steamer.  The 
angle  at  which  the  view  was  taken  showed 
a  fine  artistic  feeling,  and  the  mobility  and 
transparent  nature  of  the  waves  were  beau- 
tifully rendered.  It  was  followed  by  another 
fine  view  of  the  garden  of  the  Petit  Trianon 
at  Versailles,  by  Ellerslie  Wallace.  The 
tone  of  the  picture  resembled  the  slides  of 
Levy,  of  Paris.  The  foliage  was  perfect, 
even  in  the  densest  shadows,  and  the  con- 
trast of  light  and  shade  very  pleasing. 

Mr.  J.  G-.  Bullock's  view  at  Chamounix, 
Fairmount  Park,  was  remarkable  for  its 
combination  of  vigor  of  design,  and  softness 
of  atmospheric  effect.  Several  fine  stately 
trees,  with  dark  masses  of  foliage,  occupied 
the  foreground  through  the  trunks  and 
branches  of  which  the  distant  hills  were 
beautifully  shown.  It  was  highly  artistic 
in  conception. 

Mr.  Keen's  Arched  Bridge  at  Darby  Creek 
exhibited  a  fine  feeling  in  the  conduct  of 
light  and  shade. 

A  Waterfall,  by  Marriot  C.  Morris,  was 
also  very  effective  in  blending  of  light  and 
shade. 

From  the  Top  of  Asquam  House,  by  Henry 
T.  Coates,  showed  a  beautiful  distance  effect, 
conveying  an  idea  of  an  intermediate  atmos- 
phere, which  is  always  so  harmonious  in 
blending  the  immediate  foreground  with  the 
far-off  horizon. 

Mr.  David  Pepper's  Dogs  was  a  fine  study 
of  animal  life. 

On  the  Tow  Path,  by  J.  Bartlett,  had 
also  that  pleasing  atmospheric  effect  which 
softens  the  distance  without  obscuring. 

The  Indian  Squaw,  by  Mr.  Lambert, 
though  not  pleasing  in  itself  from  any  beauty 
of  subject,  showed  much  skill  in  photog- 
raphy. 

Mr.  David  Pepper's  Procession  of  Geese 
was  not  only  novel,  but  perfect  in  every 
respect.  It  was  an  instantaneous  view,  and 
the  artist  had  chosen  that  exact  moment  of 
time  when  the  geese  had  so  arranged  them- 
selves as  to  give  an  idea  of  progressive  mo- 
tion. The  detail  in  the  photograph  was 
perfect,  and  we  were  sorry  that  we  could 
not  hold  longer  acquaintance  with  the  sub- 
ject. 

Chrysanthemums,  by  S.  F.  Corlies.  A 
very  beautiful  arrangement  of  these  flowers, 


90 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


with  a  wealth  of  detail  and  softness  in  the 
high  lights. 

Max  and  his  Mistress,  by  Ed.  Cohen,  was 
familiar  to  us  as  one  of  the  prize  pictures  at 
the  Boston  Exposition.  A  very  pretty  and 
well-executed  domestic  scene. 

The  Old  House,  by  Mr.  Lambert,  an  in- 
stantaneous view,  was  received  with  much 
approbation. 

"We  are  the  Little  Brooks :  Who  are  you  ? 
by  E.  W.  Keen,  was  a  very  beautiful  study 
of  child-life,  full  of  good  humor,  which  was 
contagious. 

An  Irish  Setter,  by  J.  D.  Sargent,  was 
also  a  good  study,  but  was  surpassed  by  his 
photograph  of  a  plump  well-fed  cat,  entitled, 
After-dinner  Nap. 

Koadside  Best  on  a  Hot  Lay,  by  S.  Fisher 
Corlies,  was  true  to  nature,  without  being 
commonplace. 

Factory  Falls,  by  W.  L.  Wilson,  was  very 
good  in  the  rendering  of  the  water. 

Spinning  Flax,  by  S.  F.  Corlies,  was  a 
very  artistic  subject,  harmonious  by  reason 
of  the  fine  effect  of  the  reflected  lights  from 
the  bright  portions  of  the  picture  blending 
with  the  darker  parts. 

Another  picturesque  scene  was  that  by 
Mr.  A.  Clements,  entitled,  He  Loves  me  ; 
he  Loves  me  Not,  representing  a  rural  land- 
scape, with  two  lovers,  the  fair  maiden  en- 
gaged in  plucking  the  petals  of  a  daisy,  to 
find  if  fortune  and  her  fond  desire  agree. 
The  attitude  of  the  figure  is  admirable,  and 
the  surroundings  well  chosen. 

Just  Out  of  a  Cotton  Gin,  by  S.  F.  Cor- 
lies, representing  a  number  of  darkey  boys 
taking  a  rest,  was  greeted  with  a  round  of 
applause.  The  woolly  heads  and  the  filmy 
cotton  produced  a  very  novel  effect. 

Hay-making,  by  Geo.  B.  Wood,  was  su- 
perb in  the  arrangement  in  the  masses  of 
light  and  shade.  The  whole  picture  was 
bathed  in  a  subdued  light;  the  shadows 
were  soft,  and  imperceptibly  blended.  The 
attitude  of  the  figure  was  true  to  nature, 
and  the  expression  of  the  little  girl  charming. 

Several  portraits  by  Mr.  Trask  received 
well-deserved  applause. 

Mr.  David  Pepper's  Foot  Bace  and  a 
High  Jump,  two  instantaneous  views,  were 
well  conceived  and  perfect  in  detail. 


The  Elephant  Bath,  shown  by  Geo.  N. 
Tatham,  were  excellent  instantaneous  views. 

The  Old  Coffee  House,  by  J.  C.  Brown, 
showed  a  nice  appreciation  of  light  and 
shade. 

Mr.  Geo.  B.  Wood's  Altheas  After  the 
Bain  was  very  effective.  The  rain  drops, 
caught  upon  the  petals  of  the  flowers,  were 
beautifully  shown. 

Our  Ball  is  Up  the  Tree,  by  E.  W.  Keen. 
A  very  effective  study  of  a  group  of  children. 

The  Torpedo  Explosion,  by  Dr.  H.  M. 
Howe,  was  an  instantaneous  view,  which 
was  marvellous  for  the  accuracy  and  minute- 
ness of  detail. 

On  the  Nesbaminy,  by  W.  H.  Kau,  was 
remarkable  for  the  beauty  and  vigor  of  treat- 
ment. A  figure  of  a  boy,  dabbling  with  his 
hands  in  the  brook,  finely  relieved  the  fore- 
ground. The  gradation  in  the  shadows  har- 
monized beautifully  with  the  broad  clear 
light  of  the  sky. 

Burnside  Bridge,  Antietam,  by  the  same 
photographer,  was  a  fine  subject  from  a  very 
effective  point  of  view. 

Lake  George,  by  Mr.  F.  Bement,  was  a 
view  full  of  artistic  feeling,  and  remarkably 
pleasing  in  the  gradation  of  tones. 

Take  a  Drive,  by  Mr.  H.  T.  Coates,  was 
also  well  selected. 

Mr.  F.  G.  Cauffman's  Crossing  the  Brook 
gave  evidence  that  the  photographer  com- 
bined the  skill  of  an  artist  with  the  merits 
of  a  first-class  photograper. 

Alone,  but  not  Lonely,  by  A.  P.  Edge, 
was  a  very  amusing  and  life-like  view  of  a 
little  boy  solacing  himself  with  a  feast  of 
goodies. 

Dr.  H.  M.  Howe's  picture,  entitled  The 
Pets,  representing  two  little  children  in 
paniers  upon  the  back  of  a  natty  little  pony, 
was  very  pleasing. 

Thorpe's  Lane  Bridge,  and  several  other 
views  upon  the  Wissahickon,  by  Mr.  C.  E. 
Pancoast,  were  pervaded  with  that  richness 
and  warmth  of  tone,  and  that  force  of  ex- 
pression in  the  conception,  which  at  once 
stamp  such  productions  as  the  work  of  an 
artist,  and  a  careful,  conscientious  worker. 

The  Wind  Mill  at  Angers,  France,  by 
Geo.  B.  Wood,  produced  a  fine  effect,  by 
contrast  of  the  dark  wind-mill  against  a 
beautiful  flecked  sky. 


THE    PHILADELPHIA    PIOTOGEAPIER. 


91 


The  whole  collection  was  remarkably 
good.  The  percentage  of  poor  and  indiffer- 
ent slides  was  very  small.  The  only  fault 
to  be  found  was  the  too  frequent  occurrence 
of  river  views  and  waterfalls.  The  figure 
subjects,  though  few  in  number,  were  excel- 
lent, and  made  us  wish  for  more.  The  idea 
of  giving  these  exhibitions  is  a  good  one. 
They  are  open  alike  to  every  one,  and  afford 
a  good  opportunity  for  the  younger  members 
to  compare  their  work  and  profit  by  the  ex- 
perience of  others. 

QUESTIONS  PUT  BY  AN 
AMATEUR. 

It  has  become  a  matter  of  some  curiosity 
with  me  to  know  how  long  a  hyposulphite 
bath  for  fixing  dry-plate  negatives  should 
be  used.  It  has  been  my  practice  to  filter 
my  bath  from  time  to  time,  as  the  black 
scalings  from  the  sides  of  the  bottle  in  which 
I  keep  it  accumulate  at  the  bottom,  and 
also  to  add  fresh  crystals  of  soda.  But  I 
have  felt  that  some  definite  information 
would  be  satisfactory  as  to  whether  a  bath 
diminishes  in  strength  much.  It  would,  of 
course,  by  evaporation,  if  left  exposed  in  a 
pan  ;  but  when  returned  immediately  to  the 
bottle,  after  use,  and  kept  well  corked,  I  find 
there  is  little  or  no  evaporation.  Also  as  to 
what  accumulations  there  may  be  in  solu- 
tion in  a  bath  after  long  use ;  and,  in  fact, 
whether  it  ought  not,  after  a  certain  amount 
of  use,  to  be  rejected,  and  a  fresh  one  pre- 
pared, as  the  cost  of  hyposulphite  of  soda  is 
trifling.  And  also  about  the  alum  bath, 
whether  it  should  be  frequently  renewed  ? 
and  whether,  except  in  hot  weather,  there 
is  any  particular  necessity  of  using  it  at 
all  ?  If  used  with  oxalic  acid,  and  after 
the  negative  has  come  from  the  fixing  bath, 
does  it  assist  in  eliminating  or  neutralizing 
traces  of  the  hyposulphite,  and  thus  render 
the  negative  more  permanent,  than  even  a 
careful  washing  would  make  it?  As  it  is 
well  for  amateurs,  as  far  as  possible,  to  sim- 
plify matters,  and  have  set  at  rest  doubts, 
those  who  are  particular  about  their  work 
will  be  glad  to  learn  the  experience  of  in- 
vestigating professionals. 

In  the  Photographic  Times,  a  correspon- 
dent made  inquiry  about  negatives  that,  by 


reflected  light,  when  held  against  a  dark 
background,  give  a  very  pretty  image  of 
the  object  taken,  as  a  positive,  on  the  nega- 
tive side.  There  seems  to  be  no  rule  for 
the  occurrence  of  this.  I  have  a  negative 
which  is  nearly  as  good  a  positive,  as  many 
an  old  daguerrotype.  The  cause  in  this  case 
is  easily  explained.  It  was  a  thin  negative, 
and  slightly  fogged,  and  I  intensified  it. 
Having  bleached  it  thoroughly  in  the  mer- 
cury solution,  I  stopped  the  action  of  the 
cyanide  of  silver  before  it  had  blackened 
through  the  gelatine  film,  consequently  a 
dark  backing  was  formed  to  the  whitened 
image.  In  this  instance,  though,  the  posi- 
tive is  seen  through  the  glass.  But  I  would 
not  like  to  vouch  for  the  certainty  of  pro- 
ducing pictures  in  this  way,  or  for  their 
durability  when  obtained. 


ABOUT  PRICES. 


Friend  Wilson. 

Dear  Sir  :  I  am  sorry  to  see  you  discon- 
tinue the  subject  of  discussion  of  pi-ices, 
until  there  is  a  reform  for  the  better.  As 
yet,  it  has  not  come.  There  must  be 
some  home-thrusts,  and  many  of  them,  to 
get  anything  like  reform.  We  have  proved 
to  the  public  that  a  picture  can  be  got 
np  for  a  low  price,  and  now  we  have  to 
prove  that  it  is  not  all  gold  that  glitters, 
and  also  that  we  have  rights  that  should  be 
respected,  and  the  rights  of  others  must  also 
be  respected. 

It  has  come  to  this:  that  every  man  in 
business  has  got  to  sweep  his  own  door-step, 
as  friend  Ryder  has  rightly  said ;  and  must 
have  a  class  of  work  that  he  can  meet  the 
demands  of  those  who  wish  low-priced  goods, 
and  a  higher  class  for  those  who  wish  the 
best  that  can  be  obtained.  But  we  are  not 
to  bow  down  to  falsehood,  and  give  our 
patrons  the  impression  that  we  will  give 
them  two  dollars  for  one,  as  witness  the  ad- 
vertisement of  more  than  one  in  the  craft: 

"Special  inducements. — Cabinet  photo- 
graphs, three  dollars  for  the  next  month,  at 
So-and-So's,  Main  Street.  Although  hav- 
ing made  this  reduction  in  price,  the  quality 
of  work  will  be  kept  up  to  the  usual  high 
standard." 

"Season    of    1885.— So-and-So's     photo- 


92 


THE  PHILADELPHIA  PHOTOGKAPHEP. 


graphs  placed  within  the  reach  of  all. 
The  rates  helow  are  for  artistic  portraits ; 
good  as  any  make  in  the  establishment,  and 
not  machine  pictures,  such  as  are  sold  by 
drummers  for  cheap  clubs;"  and  this  from 
one  of  whom  we  expect  the  truth,  as  he  is 
a  member  of  the  church,  and  an  ex- Vice- 
President  of  the  Photographers'  Association 
of  America,  the  prices~quoted  being  half 
regular  gallery  rates,  while  they  claim  to 
do  as  well  as  at  the  higher  prices. 

If  to  the  letter  it  is  lived  up  to,  what  is 
the  use  of  having  a  higher  price?  False 
impressions  could  be  quoted  for  an  indefi- 
nite time,  but  enough  to  show  the  wrong 
has  been  recorded.  Now  this  has  done 
more  than  ail  else  combined  to  make  us  a 
disreputable  set  in  the  sight  of  men,  and 
has  caused  great  misunderstanding,  for  the 
reason  that  it  is  not  a  square  deal  that  we 
all  can  live  up  to. 

It  is  an  established  fact  that,  no  matter 
how  much  each  and  every  one  may  have 
the  welfare  of  the  science  at  heart,  they 
will,  to  keep  their  own  head  above  water, 
do  that  which,  if  circumstances  were  dif- 
ferent, they  would  not  do.  But  it  is  our 
own  fault,  none  of  us  having  backbone 
enough  to  take  into  account  the  welfare  of 
others,  otherwise  we  would  not  do  as  so 
many  do  in  this  ever  fascinating  science. 
Some  photographers  have  the  foolish  idea 
that  if  they  do  good  work,  and  make  them 
at  a  price  that  barely  covers  the  expense  of 
material  and  time,  that  they  will  have  so 
enchanted  the  people,  and  made  them  see 
that  they  are  fine  artists,  that  they  will 
reap  a  rich  harvest.  After  the  harvest  has 
been  housed,  or,  in  other  words,  when  you 
have  used  up  the  source  of  supply,  what 
are  you  going  to  draw  from  ?  They  have 
what  they  want,  and  you  have  to  seek 
new  fields  to  graze  upon,  at  an  expense  to 
yourself,  which  is  impossible  for  a  poor  man 
to  do;  an  injustice  to  yourself,  which,  in 
the  economy  of  nature,  must  be  the  first 
to  be  squarely  dealt  with,  in  order  that  you 
may  do  good  to  others  who  are  most  de- 
pendent on  you ;  and  then  the  brotherhood 
as  a  whole.  This  I  feel  in  every  bone,  after 
years  of  taking  things  as  they  come,  making 
the  best  of  it,  and  not  as  I  should  have  done, 
for  the  poor  cannot  help  the  poor,  only  in  a 


meagre  way,  that  keeps  them  always  under 
foot;  and  it  is  therefore  but  just  and  right 
that  every  one  consult  his  best  interests  in 
all  he  does,  if  it  be  honorable  ;  although  I 
hate  to  come  to  this  conclusion  so  late  in 
the  day,  for  the  candle  is  nearly  burned  out, 
and  the  snuffings  it  has  got  only  quickened 
its  flame  for  a  short  time,  to  die  nearly 
away.  But  I  hail  with  joy  the  shout  of 
hallelujah  sent  up  from  a  suffering  people 
who  have  recognized  the  fact  that  in  union 
there  is  strength,  and  to  do  good  is  the 
noblest  purpose  in  life.  I  allude  to  the 
Knights  of  Labor,  and  trust  at  no  distant 
day  I  shall  be  one  of  them. 

And  now,  my  dear  friend  Wilson,  when 
I  asked  you  to  keep  my  name  on  the  sub- 
scription book,  I  thought  ere  this  I  should 
be  able  to  forward  the  amount,  but  am  still 
unable  to  do  so.  If  I  thought  I  should  not 
be  able  to  meet  my  engagements  by  and 
by,  I  should  write  you  to  stop  it ;  but  I 
have  hopes  of  better  times,  and  so  hate  to 
give  the  journal  up,  so  I  trust  you  will  wait 
awhile  longer,  for  I  have  gone  down  like 
the  rest  of  them,  after  all  these  years  of 
struggling  to  keep  what  I  thought  was  due 
us  as  photographers,  and  make  three  dollar 
cabinets  from  one  good  negative,  collecting 
the  money  in  advance,  although  I  keep  to 
my  higher  price  as  heretofore,  giving  each 
his  due. 

I  shall  open  an  evening  drawing  school 
as  soon  as  I  can  get  a  class  to  teach,  believ- 
ing it  is  better  to  wear  out  than  rust  out. 
Yours  truly,  M.  M.  Albee. 

P.  S. — We,  in  this  town,  are  forced  down 
to  the  Cheap  John  of  the  town,  there  being 
four  galleries  for  a  population  of  a  little 
over  10,000,  and  most  all  shoe  operators  at 
that,  who  earn  only  about  75  cents  a  day, 
up  to  $3.00  and  $4.00,  but  the  average  is  not 
over  $2.00,  if  it  is  that.  This  includes  good 
and  bad  workmen ;  not  a  very  promising 
place  for  art  of  any  kind,  I  assure  you, 
especially  when  rum-sellers  get  rich  and 
the  people  poor. 

You  may  have  noticed  in  the  St.  Louis 
Journal  for  October  my  attack  on  the  pro- 
fession, and  one  on  "Photographic  Hum- 
buggery"!  published  in  the  Marlboro  Times, 
from  remarks  by  its  reporter,  and  which 


THE   PHILADELPHIA    PHOTOGEAPHEE. 


93 


also  appeared  in  the  St.  Louis  Journal  of 
February. 

I  could  not  make  it  apply  here  unless  I 
made  it  applicable  to  all,  for  1  have  failed 
to  know  of  a  photographer  who  does  not 
claim  the  work  of  photographs  finished  in 
ink,  crayon,  etc.  Yes,  I  do  remember  one 
— that  of  a  neighbor  photographer,  whose 
father  is  an  artist,  and  does  the  work,  but 
he  is  mostly  occupied  in  figure  painting 
in  churches,  having  given  up  the  work  for 
photographers,  working  only  for  his  son. 
When  the  photographer's  name  is  used 
in  the  body  of  the  picture,  unless  done 
by  his  own  hand,  I  claim  it  is  a  fraud  and 
an  imposition  on  the  public.  After  having 
given  credit  when  it  was  due  in  that  regard, 
I  wrote  another,  "The  Art  of  Photog- 
raphy," which  I  sent  to  the  Times,  of  New 
York,  after  its  publication  here,  in  which  I 
gave  photography  its  due  from  my  point  of 
view.  I  also  published  one  article  on 
"Trades'  Unions"  in  the  Marlboro  Times, 
which  I  also  sent  to  the  Times,  New  York. 
I  do  this  that  justice  may  in  a  measure  re- 
ceive its  due. 

The  conscientious  worker  is  never  over- 
paid. 

Fraternally  yours,  Albeb. 

Marlboro,  Feb.  11,  1885. 


GLEANINGS. 

At  Vienna,  professional  photographers 
now  make  use  of  isochromatic  plates  for 
portraiture. 

Bisulphide  of  carbon,  when  freshly  made, 
is  the  most  odorous  of  all  known  compounds, 
but  it  may  be  purified  until  all  offensive 
odor  disappears,  and  may  even  be  mixed 
with  perfumes. 

At  the  London  Photographic  Associa- 
tion, Mr.  Trinks  recently  showed  some  very 
interesting  prints.  This  photographer  has 
been  able  to  obtain,  by  means  of  an  ordi- 
nary platinum  print,  a  fac-simile  of  an 
etching.  After  the  print  is  washed  it  is 
passed  through  water  almost  at  the  boiling 
point,  and  very  rapidly  dried.  Under  this 
operation  the  surface  becomes  unequal.  It 
is  then  passed  under  the  press,  and  a  print 
is  obtained  which  is  difficult  to  distinguish 
from  an  etching. 

Mr.  L  Starnes  recommends  for  cutting 
gelatino-bromized  emulsion,  the  silvered 
wire  used  in  the  manufacture  of.  violincello 
strings.  It  may  be  bought  very  cheaply 
from  dealers  in  musical  instruments,  and  a 
tissue  of  network  made  from  it  which  com- 
pletely answers  the  purpose. 


The  Buffalo  Convention.— -If  there  is  any- 
thing in  beginning  early,  the  Buffalo  Convention 
will  have  a  measure  of  success.  Last  year  it 
looked  as  if  our  conventions  were  at  an  end. 
We  cannot  see  that  the  one  at  Cincinnati  paid, 
unless  it  be  that  the  President  it  gave  us  is  to 
make  up  our  losses  there.  We  have  great  con- 
fidence in  him,  and  hope  that  he  will,  with  his 
co-workers,  make  the  coming  convention  strictly 
educational,  and  we  can  point  him  to  no  better 
model  than  the  convention  held  in  Buffalo,  in 
1873.  It  sent  out  a  line  of  thought  and  help 
which  has  been  doing  good  work  ever  since. 
Earnest  business,  gentlemen,  and  not  "  a  good 
time,"  is  what  we,  this  time,  all  want. 


Pictures     Received. — From    Mr.    Ray    D. 
Chapman,   Eighth  Avenue,  New  York   City,  a 


number  of  well-lighted  and  artistically  posed 
cabinet  photographs  from  collodion  and  gelatine 
negatives.  From  Mr.  Robert  Stiles,  of  Brook- 
lyn, N.  Y.,  a  pleasant  child  study.  From  Mr. 
H.  Butler,  of  Vermillion,  Dakota,  several  full- 
length  portraits.  Mr.  Butler  also  sends  us  a 
number  of  well-chosen  and  characteristic  land- 
scapes of  Dakota  scenery.  From  Mr.  H.  Van 
Aken,  of  Elmira,  N.  Y.,  a  fine  study  of  an  old 
man  upon  the  road.  Mr.  Burrell  sends  some 
pleasing  groups  and  portraits,  also  a  very  amus- 
ing picture  representing  dogs  out  on  a  drive. 
Messrs.  Bowker  &  Son,  of  Nantwich,  England, 
have  favored  us  with  a  choice  collection  of  studio 
subjects  well  lighted  and  posed.  They  are  in 
the  cabinet  form,  which  seems  to  be  coming  into 
style  again  in  England.  Through  the  kindness 
of  Prof.  Piazzi   Smythe,  Royal  Astronomer  at 


94 


THE  PHILADELPHIA  PHOTOGEAPHEK. 


Edinburgh,  we  have  received  a  series  of  superb 
views  of  scenery  in  New  Zealand,  the  work  of 
Messrs.  Burton  Brothers,  of  Dundee,  Scotland. 
The  pictures  are  remarkable  not  only  for  the 
artistic  rendering  of  the  subject,  but  also  for 
the  perfection  of  detail,  and  the  fine  translation 
of  the  foliage.  There  is  a  beautiful  gradation  in 
the  lights  and  shades,  and  the  water  has  that  ap- 
pearance of  mobility  which  is  seldom  presented 
in  a  view.  Tropical  vegetation  and  snow-capped 
mountains  are  seen  in  one  view.  The  trans- 
parency of  the  ice  and  snow  is  finely  given,  and 
the  distance  has  that  atmospheric  quality  of 
softness  which  lends  additional  charm  to  the 
views. 


The  Photographic  Times  as  a  Weekly. — 
The  Photographic  Times  and  American  Pho- 
tographer is  now  issued  as  a  weekly.  It  has 
also  been  enlarged  as  to  the  size  of  its  sheet, 
but  the  number  of  pages  has  been  reduced  ma- 
terially. It  is  very  handsome  in  appearance, 
and  its  enterprising  proprietors,  the  Scovill 
Manufacturing  Company,  intend  to  make  it  all 
that  one  could  wish  in  a  photographic  weekly. 
With  its  clean  white  sheets,  its  broadened  col- 
umns, its  clear  type,  and  its  frequent  articles  on 
optics,  every  reader  should  be  enabled  to  de- 
velop while  he  reads.  A  good  weekly  has  long 
been  wanted  in  this  country  (though  we  think 
the  days  of  good  monthlies  are  not  ended),  and 
we  are  glad  that  some  one  has  had  the  courage 
to  undertake  the  task  of  giving  it  to  us.  Much 
success  attend  it. 

We  have  received  from  Herr  K.  Schwier,  of 
Weimar,  the  Deutscher  Photographen  Kalender, 
for  1885.  It  is  embellished  with  a  photograph 
of  L.  Belitski,  whose  name  is  familiar  to  the 
readers  of  German  photographic  journals.  The 
Kalender  contains  a  great  deal  of  matter  valua- 
ble to  the  practical  photographer. 


We  have  received  the  first  copy  of  the  weekly 
issue  of  the  Photographic  Times  and  American 
Photographer,  published  by  the  Scovill  Manu- 
facturing Company,  of  N.  Y.  It  presents  a 
very  inviting  appearance,  both  in  subject  and 
typography,  and  is  still  under  the  editorship  of 
Mr.  J.  Traill  Taylor,  associated  with  Mr.  W. 
J.  Stillman  and  Mr.  Charles  Ehrmann.  It 
contains  a  number  of  interesting  articles  of 
practical  value  to  the  profession. 

We  have  received  a  beautifully  bound  copy 
of   vol.   xiv.   of    the   Photographic    Times,  pub- 


lished by  the  Scovill  Manufacturing  Co.,  of 
New  York.  It  contains  a  variety  of  interesting 
matter,  affording  very  pleasant  and  instructive 
reading,  as  an  epitome  of  the  photographic 
progress  during  the  year  that  has  past. 

San  Angelas,  Texas,  January  3,  1885. 
E.  L.  Wilson,  Esq. 

Dear  Sir  :  Mosaics  at  hand  and  read,  but  I 
do  not  promise  that  I  will  not  reread  it.  "Ama- 
teur Photography  a  Teacher,"  by  Mr.  A.  Bogar- 
dus,  and  "An  Amateur's  Views  on  Prices,''  by 
Mr.  W.  R.  Trippe,  I  think  "  hit  the  nail  on  the 
head."  I  wish  the  people — all  the  people — would 
become  amateur  photographers,  then,  when  they 
really  know  the  study,  the  expense,  the  experi- 
ence, and  patience  necessary  to  make  good 
work,  there  will  be  a  better  understanding  be- 
tween the  photographer  and  his  patrons.  They 
will  appreciate  him  more,  and  be  more  willing 
to  pay  him  a  good  price  for  good  work. 

Most  respectfully, 

M.  C.  Ragsdale. 


New  Channels  for  Profitable  Business. — 
The  remarkable  developments  in  electricity 
within  a  comparatively  recent  period,  have 
opened  up  many  new  avenues  of  profit  and 
comfort.  One  of  the  latest  phases  in  this  line 
has  been  adapted  to  practical  and  popular  use 
by  Mr.  Frederick  Lowey,  the  enterprising 
electrical  manufacturer  of  96  and  98  Fulton  St., 
New  York,  whereby  he  brings  a  complete  model 
incandescent  Electric  Lamp  within  the  reach  of 
all,  and  also  produces  a  superior  Plating  Bat- 
tery, with  instructions  for  operating  by  ama- 
teurs, which  will  secure  a  handsome  business 
income  on  very  slight  investment.  For  family 
or  experimental  purposes  alone,  or  as  a  practi- 
cal, scientific,  and  business  educator  to  the 
young,  these  articles  are  worth  several  times 
their  cost,  outside  of  any  profit  that  can  be 
made,  and  the  manufacturer  is  certainly  entitled 
to  much  credit  for  placing  them  within  popular 
reach. 


We  are  receiving  congratulation  from  all 
quarters  concerning  the  excellent  matters  con- 
tained in  this  year's  Mosaics.  The  demand  for 
them  has  almost  exhausted  the  issue.  We  have 
only  a  few  more  left.  Secure  your  copy  before 
they  all  disappear. 

Our  readers,  no  doubt,  are  aware  that  the 
Photographic  Times,  edited  by  Mr.  J.  Traill 
Taylor,  and  published  by  the  Scovill  Manu- 
facturing  Co.,  will    appear   hereafter   in   two 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


95 


forms,  as  a  monthly  and  weekly  magazine. 
Arrangements  have  been  made  with  the  pub- 
lishers by  which  subscribers  to  the  Philadel- 
phia Photographer  may  club  with  the  Times 
in  either  form  of  its  issue — at  $5.50  for  the 
monthly,  and  $6.50  for  the  weekly.  It  is  hoped 
that  our  readers  will  take  advantage  of  this 
liberal  offer. 


Mr.  Rockwood,  who  is  conspicuous  for  his 
enthusiastic  interest  in  the  scientific  novelties  of 
his  calling,  has  suggested  a  new  weapon  for  the 
police  force.  He  says  that  there  is  no  reason  in 
the  world  why  "  the  finest"  should  not  carry  a 
camera  as  readily  as  a  club,  and  operate  it  with 
more  certainty  of  execution,  to  say  nothing  of 
its  greater  safety  when  applied  to  a  law-abiding 
citizen.  A  large  picture  is  not  necessary  for  the 
purpose  of  identification — in  fact,  in  all  photo- 
graphic work  sharpness  is  more  or  less  sacrificed 
to  size.  The  photographic  portraits  known  as 
cartes  de  visite  are  sharper  and  more  distinct 
than  the  larger  ones,  so  the  likeness  of  a  crimi- 
nal taken  on  a  plate  an  inch  square  would  be 
unmistakable.  The  whole  contrivance  neces- 
sary would  occupy  less  space,  and  be  lighter  to 
carry,  than  an  ordinary  bulldog  pistol.  Its 
uses  are  apparent.  Armed  with  it  a  policeman 
could  photograph  any  number  of  suspicious 
characters  on  his  beat,  whom  he  did  not  feel 
justified  in  arresting. — New  York  Tribune,  Feb- 
ruary 6.  1885. 


Owing  to  ill-health,  our  friend,  Mr.  Henry 
Rocher,  of  Chicago,  has  been  compelled  to  re- 
tire from  active  service  in  the  profession,  and  is 
now  desirous  of  securing  a  purchaser  for  his 
extensive  and  well-established  business.  "With 
the  name  of  Rocher  is  associated  the  idea  of 
high  artistic  taste  in  photographic  work.  His 
reputation  is  too  well  known  to  need  comment, 
and  those  who  will  succeed  him  in  the  business 
may  be  assured  that  if  his  standard  of  excel- 
lence be  maintained  they  will  undoubtedly 
achieve  success,  as  he  has  done.  Mr.  Rocher 
is  not  desirous  of  trying  experiments.  He 
therefore  asks  those  who  are  desirous  of  enter- 
ing into  business  relation  with  him,  to  do  so 
only  upon  the  basis  of  permanency.  He  wants 
only  such  as  are  determined  to  carry  on  the 
work,  and  not  to  relinquish  it  after  a  brief 
trial  of  a  month  or  two. 

Mr.  S.  Thomas  Rlessing,  of  the  well-known 
firm  of  Blessing  &  Bro.,  Galveston,  Texas,  has 
purchased  the  very  extensive  and  well-selected 
stock  of  the  old  firm,  and  will  conduct  the  busi- 
ness   at    Galveston    as    a   branch    of    the    New 


Orleans  house.  Mr.  Blessing,  by  promptness 
and  fair  dealing,  merits  a  continuance  of  the 
patronage  formerly  extended  to  the  firm  of 
Blessing  &  Bro.  His  name  and  reputation  as 
a  photographic  merchant  in  New  Orleans  are  fav- 
orably known  throughout  Texas  and  the  entire 
South,  which  is  a  sufficient  guarantee  that  the 
Texas  headquarters  for  photographic  supplies 
will  be  conducted,  as  it  ever  has  been,  with  hon- 
esty of  purpose  and  a  desire  to  promote  the  best 
interests  of  all  patrons.  The  late  firm  of  Bless- 
ing &  Bro.,  having  just  issued  and  distributed 
a  new  illustrated  catalogue  and  price-list,  Mr. 
S.  T.  Blessing  adopts  the  same  as  his  own,  the 
prices  being  the  same  as  his  New  Orleans  prices. 
If  you  have  not  received  a  copy  write  for  one. 


Photographic  Mosaics  (twenty-first  year),  an 
annual  record  of  photographic  progress,  edited 
by  Mr.  E.  L.  Wilson,  of  Philadelphia,  occupies 
a  position  in  America  similar  to  that  taken  by 
the  Year  Book  of  Photography  in  England.  It 
makes  known  to  the  profession,  in  short  and 
attractive  articles,  the  most  important  progress 
that  has  been  made  in  the  domain  of  photogra- 
phy, and  also  discusses  the  current  questions  of 
the  day.  That  it  has  attained  its  twenty-first 
year  is  proof  enough  that  the  author  has  struck 
the  right  vein  of  interest  to  the  profession. — 
Photographische  Mittheilungen,  Berlin,  Germany. 


The  Suter  Lens. — We  have  some  magnificent 
pictures  of  the  New  Orleans  Exposition,  from 
20x24  inch  negatives,  made  by  8  B  Suter  Lens. 
One  of  them  is  of  the  court  of  the  British  Hondu- 
ras Section,  and  is  a  good  photographic  triumph. 
Here  are  the  products  of  that  interesting  coun- 
try in  a  court,  say  60x300  feet,  all  beautifully 
caught  by  the  wondrous  depth  of  the  wonder- 
ful lens.  Leopard  skins,  delicate  fibrous  ma- 
terials, plaited  goods,  woods,  curious  furniture, 
hammocks,  nets,  and  what-not  of  curious  arti- 
cles, are  all  caught  with  exquisite  sharpness  and 
detail.  Two  other  views — one  of  the  monstrous 
dragon  upon  the  He-No  Tea  Hong,  and  another 
of  the  Hong  itself — though  not  so  full  of  small 
bits,  are  equally  fine  examples  of  lens  work  in 
every  respect,  and  cannot  be  surpassed.  Messrs. 
Allen  Bros,  write  us  that  the  sale  of  the  Suter 
lens  is  most  satisfactory,  and  that  not  a  single 
"  growl  "  has  came  from  any  purchaser.  The 
work  done  by  these  comparatively  low-priced 
instruments  is  marvellous,  and  fortunate  are 
their  purchasers. 


Photographic  card-stock  manufacture  has  be- 
come a  fine-art,  and  the  only  artists  in  that  pecu^ 
liar  line  are  Messrs.  A.  M.  Collins,  Son  &  Co.,  527 


96 


THE  PHILADELPHIA  PHOTOGEAPHEE. 


Arch  Street,  Philadelphia.  We  have  received 
their  18S5  catalogue  of  forty-four  pages,  which  is 
in  itself  a  work  of  art,  and  a  real  study.  The 
variety  of  cards,  etc.,  described  and  priced  in  it 
may  be  judged  when  we  state  that  the  index 
alone  covers  two  pages.  Beside  a  long  line  of 
white  and  tinted  cardboard,  there  are  varieties 
of  card,  Victoria,  cabinet,  promenade,  panel, 
and  stereoscopic  mounts  offered,  which  must 
meet  the  wants  of  every  photographer  in  the 
world,  and,  indeed,  as  we  happen  to  know,  the 
manufactures  of  this  firm  go  to  all  parts  of  the 
globe.  Some  samples  sent  us  by  them  recently, 
are  like  pieces  of  jewelry,  they  are  so  perfect 
and  so  beautiful.  Their  new  catalogue  will  be 
found  a  great  help  to  the  buyer.  Look  at  the 
"trademarks"  on  the  cover,  and  see  that  the 
genuine  label  is  on  your  packages  when  you 
purchase. 


The  first  number  of  The  Camera,  Field,  and 
Book  has  been  sent  us.  It  is  a  little  pamphlet 
devoted  to  photography  and  literature,  published 
at  Bristolville,  Ohio,  and  contains  a  number  of 
well-written  articles  on  literary  and  scientific 
subjects. 


The  demand  for  dry  plates  in  America  is  con- 
stantly increasing.  The  excellent  quality  of  the 
various  brands  in  the  market  has  made  almost 
every  photographer  a  convert  to  gelatine.  This 
increased  demand  has  enabled  the  manufacturers 
to  supply  them  at  rates  much  below  the  former 
price.  We  are  glad  to  see  that  the  Inglis,  Nor- 
den,  Beebe,  Star,  Cramer,  Eastman,  and  Car- 
butt  plates  are  now  offered  at  twenty  per  cent, 
less  than  the  list  of  prices  adopted  by  the  Dry- 
Plate  Makers'  Association  at  their  meeting  held 
at  Metropolitan  Hall,  February  10th. 


The  British  Journal  Photographic  Almanac, 
edited  by  Mr.  W.  B.  Bolton,  is,  as  usual, 
full  of  valuable  articles.  The  host  of  distin- 
guished contributors  seems  to  have  combined  to 
make  this  important  photographic  annual  up  to 
the  times,  and  hence  of  particular  value  to  the 
profession.  The  articles  are  upon  a  variety  of 
subjects,  and  the  most  diverse  tastes  cannot  fail 
to  find  viands  there  to  their  liking,  and  which 
will  contribute  to  their  growth  photographically. 
The  portrait  of  Miss  Anderson  which  graces 
the  title-page,  is  a  marvel  of  photographic  light- 
ing, full  of  beautiful  soft  tones  and  gradations. 


The  Year  Book  of  Photography,  edited  by 
Mr.  Thomas  Bolas,  F.C.S.,  is  also  at  hand,  and 
shall  continue  near  at  hand  all  the  year  through. 
It  is  enough  to   say  that   such    men   as   Capt. 


Abney,  Messrs.  W.  K.  Burton,  Talbot,  Eder, 
and  Jennings  have  chronicled  in  its  pages  their 
experience  to  make  it  the  photographer's  vade 
mecum.  The  subject  of  gelatine  is  touched 
upon  from  every  point,  and  the  whole  book  is  so 
doubly  surcharged  with  valuable  hints,  that 
every  photographer  who  is  anxious  to  progress, 
must  look  to  it  for  daily  assistance. 


No.  3  of  Anthony's  Bulletin,  in  addition  to  its 
usual  stock  of  valuable  photographic  matter, 
greets  its  readers  with  a  superb  embellishment 
from  a  negative  by  Mr.  A.  Bogardus.  It  is  a 
portrait  of  Mr.  Henry  J.  Newton,  whose  name 
is  so  familiar  to  photographers.  The  head  is 
beautifully  lighted  and  the  shadows  blend  im- 
perceptibly, giving  a  softness  and  vigor  to  the 
whole  print.  The  beauties  of  this  negative  are 
well  brought  out  by  the  excellent  quality  of  the 
paper  print,  which  leaves  nothing  to  be  desired 
either  in  tone  or  finish,  but  we  are  not  at  all 
surprised  at  its  excellence  when  we  read  in  the 
corner,  Printed  by  Hugh  O'Neil,  on  new  N.  P.  A. 
Pense. 


The  next  best  thing  to  visiting  the  great 
Exposition  at  New  Orleans,  is  the  enjoyment 
of  the  same  by  means  of  projections  of  pho- 
tographic transparencies,  by  the  magic  lan- 
tern, upon  the  screen.  We  have  just  seen  the 
superb  set  of  about  one  hundred  views  which 
Mr.  E.  L.  Wilson  has  sent  us.  The  variety  of 
the  subjects,  the  high  artistic  and  picturesque 
value  of  the  scenery  depicted,  the  novelty  of 
the  scenes  and  incidents  of  life  in  a  country 
and  amongst  a  people  so  entirely  different  from 
our  own  Quaker  City  idea  of  what  things  should 
be,  the  semi-tropical  nature  of  the  vegetation — 
immense  cacti  and  strange  South  American 
plants,  mighty  groups  of  noble  oak  trees — all 
this  presented  to  us  by  means  of  excellent  pho- 
tographs, combine  to  make  the  entertainment 
a  most  enjoyable  one.  Nor  must  we  forget  the 
fine  views  of  the  buildings  and  the  choice  selec- 
tions from  the  beautiful  exhibits  therein.  We 
will  be  glad  when  Mr.  Wilson  favors  us  with 
another  set  of  these  views. 


Mr.  G.  M.  Walker,  photographer,  Hillsboro, 
Dakota  Ty.,  writes:  "The  January  number  of 
the  Philadelphia  Photographer  to  hand,  with 
thanks.  I  would  not  exchange  it  for  my  whole 
subscription." 


We  have  received  several  numbers  of  An- 
thony's Bulletin  in  its  new  and  attractive  form. 
They  are  models  of  neat  typography,  and  con- 
tain a  number  of  excellent  articles  of  photo- 
graphic interest. 


MAKE  OUT  YOUR  OWHT  BILL,  and  remit  cash  with  your  advertisements,  or  they  will  not  be 
inserted. 

ADVERTISING-  RATES  FOR  SPECIALTIES.— Six  lines,  one  insertion,  #2.00,  and  25  cents  foi 
each  additional  line,  seven  words  to  a  line — in  advance.  Operators  desiring  situations ,  no  charge.  Mattel 
must  be  received  by  the  23d  to  secure  insertion.  Advertisers  will  please  not  ask  us  for  recommendations. 
4®=  We  cannot  undertake  to  mail  answers  to  parties  who  advertise.  Please  always  add  your  address  to  the 
advertisement.     Postage-stamps  taken. 


BACKGROUNDS. 
Head  and  Bust,  Three-quarter  Lengths, 
Rembrandt's,  Vignettes,  etc. 

Lafayette  W.  Seavey, 

216  E.  Ninth  St.,  N.  Y. 


W.  F.  ASHE 

ARTISTIC   BACKGROUNDS 

AND 

ACCESSORIES, 

KEMOVED  TO  68  WEST  EOTJETH  ST., 

4  Blocks  West  of  Broadway,  N.  Y. 

My  new  studio  is  fitted  up  with  all  the  mod- 
ern improvements,  and  the  most  refined  demands 
from  a  critical  public  can  be  satisfied.  A  visit 
to  my  establishment,  which  has  the  largest 
showroom,  containing  the  greatest  amount  of 
stock  of  any  place  in  the  world,  will  be  grate- 
fully appreciated. 

I  have  again  added  numerous  new  designs  to 
my  great  variety  of  patterns  for  backgrounds 
and  accessories,  and  keep  also  in  stock  a  large 
quantity  of  goods  for  parties  to  select  from, 
saving  time  and  delay  on  orders. 


Partner  Wanted. — To  one  who  is  a  good  re- 
toucher, and  also  able  to  assist  at  operating,  etc., 
I  will  sell  a  half  interest  in  my  gallery  now 
doing  a  business  of  $150  per  month.  With  a 
good  partner  we  could  control  a  town  of  10,000 
inhabitants.  Will  sell  half  for  $200  cash.  I 
must  have  help  at  once.  If  you  want  such  a 
chance,  address  F.  A.  Remington, 

Box  76,  Stratford,  Ont. 


ROCKf  00D  SOLAR  PRINTING  CO. 

1 7  Union  Square,  New  York. 

TIME. — It  is  our  intention  that  every  ordei 
received  in  the  morning's  mail  (when  not  to  be 
put  on  stretchers)  shall  leave  this  establishment 
the  same  day  or  the  following  morning.  If  too 
late  for  the  morning  work,  it  is  sent  on  the  sec- 
ond day.  Having  our  own  engine  and  electric 
light,  we  are  not  at  all  dependent  on  the  weather. 
GEORGE  H.  ROCKWOOD, 
Business  Manager. 


VOGEL'S  PROGRESS  OF  PHOTOGRAPHY, 

LATEST— BEST— $3. 


Etery  photographer  in  want  of  excellent 
lenses,  for  « ny  -purpose,  will  best  serve  his  interest 
by  consulting  the  new  illustrated  price-list  of 
Messrs.  Benjamin  French  &  Co.  before  pur- 
chasing. 


SAMUEL  W.  BROWN  &  CO., 
Solar  Prints  by  the  Platinum  Process, 

and 

silver  printing  for  the  trade  and  amateurs. 

2805  Poplar  Street,  Philadephia. 


Address  T.  W.  Power,  N.  Y.,  Secretary  of 
Association  of  Operative  Photographers  of  New 
York  City,  for  operators,  printers,  and  re- 
touchers, 392  Bowery,  or  487  Eighth  Avenue. 


98 


THE  PHILADELPHIA  PHOTOGKAPHEK. 


No.  18. 


No.  18. 


WAYMOUTH'S 

VIGNETTE 

PAPERS, 

The  old  form  of  No.  18,  Waymouth's  Vignette 
Papers,  oval,  has  been  discarded,  and  a  neio 
pear-shaped  style  is  now  ready  in  its  place.  It 
is  a  beautiful  piece  of  gradation  and  prints 
perfectly.  Price  $1.25  per  dozen.  For  sale  by 
all  dealers.     See  advertisement  for  all  sizes. 


No.  18. 


NOW  READY. 


No.  18. 


PORTRAITS  IN  CRAYON. 
The  new   book    by   E.   Long,  on   the   art  of 
making  portraits  in   crayon   on   solar  enlarge- 
ments, covers  the  entire  ground,  and  is  sold  for 
the  low  price  of  fifty  cents.     For  sale  by 

Edward  L.  Wilson, 

Philadelphia. 


METAL  GUIDES 

FOR 

A.  M.  COLLINS,  SON  &  CO.'S 
No.  26  Gilt  Bevelled-edge  Cards. 
The  fancy-shaped  mounts  now  so  fashionable 
among  photographers,  require  metal  guides  with 
which  to  cut  the  photographs.  They  are  now 
kept  on  hand,  and  can  be  supplied  in  the  follow  - 
ing  shapes,  and  at  the  prices  mentioned  : 

Each. 

Cross $1  05 

Star 1  00 

Palette 90 

Leaf 90 

Bell  90 

Crescent 80 

Egg 50 

Triangle 90 

For  sale  by  Edward  L.  Wilson, 

1125  Chestnut  Street, 

Philadelphia,  Pa. 

We  are  Ready. 
Owing  to  the  sudden  increase  in  the  demand 
for  the  Roekwood  Dry  Plates,  we  were  obliged 
through  the  months  of  July  and  August  to  de- 
cline many  orders.  We  have  now  more  than 
quadrupled  our  facilities,  and  introduced  im- 
provements which  will,  we  hope,  enable  us  to 
fill  orders  with  promptness,  and  give  us  plates 
possessing,  if  possible,  still  more  sensitiveness 
and  uniformity.  For  price-lists  and  samples  of 
tcork  done  by  the  "Roekwood  Plate," 

Address     J.  A.  Randel,  Manager, 
17  Union  Square,  New  York. 


For  Rent. — Photograph  gallery;  excellent 
opportunity  for  good  business.  Location  excel- 
lent. Only  one  other  gallery  in  a  population  of 
twenty  thousand  inhabitants.  Possession  March 
25th.     Address  P.  O.  Box  2387, 

Bridgeton,  N.  J. 


For  Sale. — Gallery,  including  lot  (north  side 
and  skylight).  Size  of  lot  25x80  feet;  can 
never  be  obstructed.  Population  of  city  20,000, 
and  as  many  trading  from  outside.  Lafayette 
College,  with  several  hundred  students,  within 
five  minutes'  walk.  Our  only  reason  for  selling 
is  the  want  of  personal  attention  required,  and 
the  distance  from  our  main  office.  To  the  right 
party  this  is  a  rare  chance  to  build  up  a  fine 
business,  and  to  own  your  own  gallery  and 
ground  in  so  flourishing  a  place,  with  positively 
no  competition  for  first-class  work.  Address 
Pach  Brothers, 
841  Broadway,  New  York. 


AMEKICAN 

ELECTRIC  LAMP. 


Large  Size,  $1.00;   Small  Size,  60  Cents. 

The  Electric  Lamp  is  one  of  those  useful  arti- 
cles desired  in  every  family.  There  is  nothing 
to  explode  or  dangerous  in  its  construction, 
while  it  is  simple  and  easy  to  manage.  Its 
light  is  generated  by  electricity  and  at  small 
expense.  The  incandescent  electric  lamp  con- 
sists of  stand,  globe,  platina  burner,  and  double 
electric  generator,  with  full  instruction  for  put- 
ting in  operation.  Either  size  mailed  on  receipt 
of  price  by  the  manufacturer. 

Frederick  Lowey, 
P.  O.  Box  1322.  96  &  98  Fulton  St.,  N.  Y. 

N.  B. — Estimates  furnished  for  factory,  church , 
residence  and  municipal  lighting  at  lowest  cost, 
and  all  kinds  of  electrical  work  undertaken  by 
contract. 


THE  PHILADELPHIA  PHOTOGKAPHEK. 


99 


EWING  MACHINE 


SIMPLE 


THE  ONLY  SEWING  MACHINE 

L      •    -  THAT  GIVES  . J 


PERFECT  SATISF/ICTIOH. 


r^HAS  NO  EQUAL~] 


SEWING  MACHINE  CO 

ORANGE  MASS. 

30  UNION  SQ.N.Y.   CHICAGO  ILL. 
ST.  LOUIS  MO.  ATLANTA   GA. 
-^FQR   SALE  BYP^ 


M.  WEENEE, 

PORTRAIT    ARTIST, 

No.  102  N.  Tenth  Street,  Philadelphia. 

e 
Photographs  finished  in    crayon,    India  ink, 

water  colors,  and  pastel,  in  all  sizes,  in  the  very 

best  styles,  and  at  moderate  prices. 

Solar  Prints  and  Enlargements  Furnished. 


FREE  PRESS 


and  The  Household. 


THE  WITTIEST,  BRIGHTEST  AND 
BEST  OF  WEEKLIES. 


THE  GREAT  FAMILY  PAPER. 

Ton  Pages  of  Reading  Matter  nr 
Infinite  Variety. 


subsoeibe  asrcrw* 

AND  RECEIVE  THE  PAPER  FOR  THE 

BALANCE  0M884  FREE 

SEND  FOR  SAMPLE  COPT.    AGENTS 
WANTED  EVERYWHERE. 

THE  FREE  PRESS  CO.,      Detroit,  Mich, 


FREE  PRESS 


"WILSON'S  PHOTOG-RAPHICS. 

It  leads  the  nose  right,   and  presents 

to  the  eye  "  a  perfect  cyclopaedia  of 

photography." 


100 


THE   PHILADELPHIA    PHOTOGKAPHER. 


SITUATIONS  WANTED. 

No  charge  for  advertisements  under  this  head;  limited 
to  four  lines.     Inserted  once  only,  unless  by  request. 


By  a  young  lady,  to  attend  reception-room  or 
retouch.  Salary  not  so  much  an  object  as  ex- 
perience. Address  Miss  M.  L.  Ashley,  Box  689, 
Willimantic,  Conn. 

By  a  young  lady,  to  attend  reception-room 
and  retouch.  Wages  moderate.  References 
given.    Address  Miss  B.  Marden,  Cincinnati,  0. 

By  a  young  man,  as  printer  and  assistant  re- 
toucher or  retoucher.  Can  furnish  references  if 
desired.  Address  William  Wurtenburg,  Shamo- 
kin,  Pa. 

By  a  young  man,  as  printer  or  general  work- 
man. Wages  reasonable.  Samples  and  refer- 
ences exchanged.  Address  J.  L.,  Box  2,  Reno, 
Iowa. 

In  a  good  gallery,  as  retoucher  and  printer. 
Can  assist  in  operating.  Can  furnish  recom- 
mendation if  required.  Address  I.  L.  J.,  346 
Broad  Street,  Trenton,  N.  J. 

As  retoucher  in  a  first-class  gallery.  Address 
Miss  J.  P.  H.,  140  W.  Third  St.,  Dayton,  Ohio. 

Permanently,  as  retoucher.  Address  Miss  C. 
F.  Ball,  Cortland,  Cortland  County,  New  York. 

By  a  young  man,  in  a  good  gallery.  Is  a 
good  general  assistant.  Address  Will  A.  Rob- 
inson, Apalachicola,  Florida. 

By  a  first-class  printer  and  toner.  Has  had 
ten  years'  experience.  The  West  preferred.  Best 
of  reference  given.  Address  Earnest  Worker 
care  Sargent  &  Co.,  Bank  Street,  Cleveland,  0., 


By  a  good  collodion  transfer  enlarger,  who  is 
also  a  good  dark-room  man.  Terms  reasonable- 
Transfer  specimens  and  particulars  will  be  for- 
warded by  addressing  J.  W.  Waldron,  508  Arch 
Street,  Philadelphia,  Pa. 

In  or  near  Philadelphia,  as  printer  or  opera- 
tor. Address  Frank  H.  Stains,  3538  Wharton 
Street,  Philadelphia,  Pa. 

Permanently,  in  first-class  gallery,  as  opera- 
tor or  operator  and  retoucher.  Address  A.  R.  I., 
Box  729  St.  Thomas,  Ontario. 

By  a  first-class  operator,  by  April  1st.  Sam- 
ples sent  to  those  willing  to  pay  for  good  work. 
Address  Box  556,  Lansing,  Mich. 

As  printer  and  retoucher,  in  first-class  gal- 
lery. Best  of  reference  given.  Address  A.  E. 
McDermid,  Box  11,  Fingal,  Elgin  Co.,  Ontario. 

By  a  young  lady,  as  printer  and  assistant  re- 
toucher. Can  do  general  gallery  work.  Ad- 
dress Nellie  E.  Nelson,  426^  Fifth  and  Main 
Street,  Keokuk,  Iowa. 

By  an  Englishman  twenty-four  years  of  sge. 
Is  well  up  in  the  whole  routine  of  photography. 
References  and  specimens  sent  if  desired.  Ad- 
dress H.  Betts,  94  High  Street,  Merthyr  Tydvil, 
England. 

By  a  young  lady,  thoroughly  competent  in 
retouching,  printing,  toning,  etc.  Address  Miss 
Hattie  Thumler,  37  Ann  Street,  New  York. 

A  first-class  retoucher  and  printer  wanted. 
Send  samples  of  work  to  G.  Kennedy,  Box  334 
Amsterdam,  N.  Y. 


Vogel's  Progress  of  Photography, 

LATEST-  BEST—  $3. 


PATENTED. 


SCOFIELD'S 


UNIQUE  CAMERA 


and  other  Specialties. 


Send   for  Circular  of  the  most  remarkable  line  of  goods  in 
the  market  for  cheapness,  simplicity,  practical  utility,  and  com- 
pactness.    Professional  and  amateur  Folding  Cameras,  Tripods, 
C  mera'  £20  OO  Camera  Stands,  Plate  Holders,  Vignetting  Attachments,  etc. 

C.  H.  SCOFIELD,  39  Columbia  St.,  UTICA.  N.  Y. 


THE    PHILADELPHIA    PHOTOG  EAPHEK. 


101 


-£LT  THIS  SEASON 

THE  BEST  BOOK   FOR  AMATEURS  AND  ALL   LS 

ROBINSON'S 

PICTORIAL  EFFECT  IN  PHOTOGRAPHY. 

Should  be  Read   by  Every  Negative  Maker  Practising 
In  and  Out  of  Doors. 

NOW  IS  THE  TIME  TO  READ  IT. 


CONTENTS. 


CHAP. 

I.  Introductory. 
II    The  Faculty  of  Artistic  Sight. 

III.  Balance  of  Lines  and  Contrast. 

IV.  Balance— Example. 

V.  Balance — Examples — {continued). 
VI.  Unity. 

VII.  Examples — Expression. 
VIII.  Practice — The  Choice  of  a  Subject. 
IX.  Simple  Rules. 
X.  Figures  in  Landscape — Truth. 
XI.  The  Sky. 
XII.  The  Legitimacy  of  Skies  in  Photographs. 

XIII.  The  Composition  of  the  Figure. 

XIV.  Pyramidal  Forms. 

XV.  Variety  and  Repetition.        ' 
XVI.  Variety  and  Repetition  {continued) — -Repose- 
Fitness. 


CHAP. 

'  XVII.  Portraiture. 

XVIII.  Portraiture— The  Management  of  the  Sitter 

XIX.  Portraiture— The  Pose. 

XX.  Portraiture — Groups — Proportion. 

XXI.  Backgrounds. 

XXII.  Accessories. 

XXIII.  Some  Old  Notions  Touching  Portraiture. 

XXIV.  Chiaro-oscuro. 

XXV.  Chiaro-oscuro — Detail  or  Definition. 

XXVI.  Chiaro-oscuro  —  Various    Arrangements 

Light  and  Shade. 

XXVII.  Chiaro-oscuro — Various    Arrangements    of 
Light  and  Shade  {continued). 

XXVIII.  Chiaro-oscuro — Breadth. 

XXIX  Chiaro-oscuro — Portraiture — The  Studio. 

XXX.  Chiaro-oscuro — General  Considerations. 

XXXI.  Conclusion. 


of 


No  one  can  study  this  excellent  work  without  being  better  able  to  pose  and 
compose  his  subjects,  and  to  light  them  more  artistically.  Those  who  are 
unskilled  comparatively,  hardly  realize  how  much  there  is  to  learn  that  is  of 
value  to  them.  This  book  will  open  their  eyes  and  enlighten  them,  if  they 
can  but  see  when  their  eyes  are  open. 

IT  IS  THE  MOST  POPULAR  PHOTO.  WORK.  EVER  PUBLISHED  IN  EUROPE. 

IT  IS  THE  BOOK  WANTED  NO  W  BY  THE  AMERICAN  PHOTOGRAPHER,  TO  POST 

HIM  ON  THE  AMT  OF  PHOTOGRAPHY. 


Cloth,  $1.50;  Paper,  $1.00.    Lllustrated. 
WHAT  ITS  READERS  SAY. 

"  Mr.  H.  P.  Robinson's  Pictorial  Effect  in  Photography  is  a  gem,  the  par  excellence 
of  all  photographic  books.  Its  pages  are  full  to  a  letter  of  choice  and  valuable 
instruction.  If  there  is  one  who  has  not  read  it  I  would  advise  him  to  do  so  at  once." 
— G.  F.  E.  Pearsall,  Brooklyn,  N.  Y. 

"I  would  advise  all  photographic  art  students  to  obtain  a  copy  of  Mr.  H.  P. 
Robinson's  Pictorial  Effect  in  Photography ,  one  of  the  best  and  most  complete  works 
ever  published  on  the  subject  for  the  benefit  of  photographers.  Read  it  over  and 
over.     Every  page  teaches  a  grand  lesson." — James  Mullin,  Lexington,  Kentucky. 


EDWAKD  L.  WILSON,  Publisher,  1125  Chestnut  St.,  Philada. 


102 


THE    PHILADELPHIA    PHOTOGRAPHER. 


GAYTOJST  A.  DOUGLASS. 


HENRY  G.  THOMPSON. 


Douglass,  Thompson  &  Co. 

229  &  231  State  St,  Chicago,  111. 

MERCHANTS  IN  SUPPLIES  FOR  THE 

Art-Soienoe  of  Pliotograpliy 

Photographers'  Booksellers,  Stationers,  and  Newsdealers. 


CARBUTT'S 

Keystone  Dry  Plates 

AND  PHOTOGRAPHIC  SPECIALTIES. 

Specials  for  Portraiture. 

A.  for  Transparencies. 

B.  for  Landscapes  and  General  Pho- 
tography. 


OPAL    PLATES,  Gelatino- Albumen  or  Gelatino- 
Ohlorides,  for  Positives  and  Transparencies. 


ml 

i  //  - 

j 


Multum  in  Parvo  Dry-Plate  Lantern. 

Carbutt's  Pyro.  and  Potash  Developer,  Concentrated, 
Two  8oz.  bottles  75  cents. 

Kttby  Paper  and  Negative  Varnish. 


FOB  SALE  BY  ALL  DEALERS. 


JOHN  CARBUTT,  Keystone  Dry-Plate  Works, 

Wayne  Junction,  Philadelphia,  Pa. 


SAVE  SEVEN  AND  ONE-HALF  DOLLARS 

On  Every  Ream  of  .Plain  Salted  Paper  you  Use  by  Buying 

Buchanan,  Smedley  &  Bromley's 

New  Special  Brand  of  SUPERIOR  SALTED  PAPER, 

BOX-WOOD  SURFACE. 

To  end  the  war  in  prices,  we  step  forward  and  make  one  grand  reduction  in  the  price  of  this 
kind  of  Photographic  Paper.     #28.00  per  Ream,  former  price.     Our  new  price  is 


$20.50  PER  REAM, 


$20.50  PER  REAM. 


Same  size  as  demon's  Matt-surface  and  Morgan's  Salted  Papers.     Sample  sheet  free,  by  mail, 
to  any  address,  upon  receipt  of  6  cents  in  postage  stamps.     Ask  your  local  dealer  for  it. 

BUCHANAN,  SMEDLEY  &  BROMLEY,  25  NORTH  SEVENTH  STREET,  PHILADA. 


THE  PHILADELPHIA   PHOTOGEAPHEE. 


103 


PASSAVANT'S  DRY  PLATES 

ARE  CONCEDED  P.T  TJECE  LEADING  PHOTOGRAPHERS 
OF  THE  PACIFIC  COAST  TO  BE 

THE  BEST  AND  MOST  RELIABLE  IN  THE  MARKET. 


CIP. 
EL 


3X*4X, 

4  x      5, 

5  x7, 


Specially  for  Portraiture  and  Instantaneous  Views, 
requiring  one-half  the  time  of  other  Dry  Plates, 
working  with  great  softness  and  delicacy. 

For  ordinary  Studio  Work  and  Landscape. 


— PRICE   LIST. 


Per  Doz. 

SO  60 

90 

1   20 

1  75 


5x8, 

6)4  x  8%, 
8  x  10, 
10  x  12, 


Per  Doz. 
$1    75 

2  30 

3  40 
5  00 


11  x  14, 
14  x  17, 
17x20, 
18  x  22, 


Per  Doz. 

$6  50 
12  00 
20  00 
24  00 


Numerous  testimonials  from  all  parts  of  the  States  at  hand.     Try  them. 


Passavant's  Photographic  Dry  Plate  Factory, 

306  GUERRERO  STREET,  SAN  FRANCISCO,  CAL. 

OSCAR    FOSS,    SOLE    AGENT    FOR    THE    PACIFIC    COAST. 


HIGHEST  CI  ASS  OF  HAND-PAINTED 
DISSOLVING  VIEW  SLIDES, 

As  Used  at  the  Late  Eoyal  Polytechnic,  England, 


Messrs.  WILKINSON  &  CO. 

ARTISTS  AND    OTICIANS, 

Not  merely  Colorists  of  Photographs,  as  nearly  all 
other  slide  producers  are,  beg  to  draw  your  special 
attention  to  the  fact  that  they  can  paint  any  subject, 
commencing  on  the  bare  glass.  Any  Engraving, 
Print,  Drawing,  etc.,  can  be  copied  as  Slides,  and 
most  artistically  finished.  They  can  also  color  good 
Photo.  Slides  in  a  far  superior  manner  to  any  other 
house.  Slides  may  be  had  from  3  inches  to  10  inches 
in  diameter.  As  these  slides  take  a  good  while  to  do, 
and  are  only  done  to  order,  customers  must  order 
during  the  summer  months.     Samples  may  be  had. 

IB  HOLMESIDE,  BOROUGH  ROAD,  SUNDERLAND. 
Old  or  damaged  Slides  and  Apparatus  repaired.    Condensers  for  all  purposes,  any  size  to  order. 


HODGE   &  HUSTON, 

THE  SOLAR  PRINTERS 

622  Arch  Street,  Philadelphia 

PERMANENT  PRINTS  BY  THE  PLATINUM  PROCESS. 
— ELECTRIC  LIGHT. 


104  THE    PHILADELPHIA    PHOTOGEAPHEE. 


THE  PLATINOTYPE. 

(PATENTED.) 

WILLIS  &  CLEMENTS,  Proprietors,  25  N.  Seventh  St.,  Philadelphia. 


Endorsed  by  SAJRONY,  GUTEKUNST,  and  many  others. 

This  process  is  best  adapted  for  Solar  Enlargements,  large  contact  Portrait  Work,  8  x  10  and 
larger,  Copies  of  Paintings  and  Engravings,  Prints  on  Linen,  etc.,  etc.  Amateurs  will  find  this 
process  the  most  artistic  for  Landscapes.  Lincenses  sold  to  professionals  and  amateurs  on  reason- 
able terms.     Send  for  latest  instructions.     Address  all  communications  to 

WILLIS  &  CLEMENTS,  Patentees, 

OR  TO 

BUCHANAN,  SMEDLEY  &  BROMLEY, 

General  Agents  for  Sale  of  Materials, 

25  North  Seventh  St.,  Philadelphia. 


ALBERT  MOORE  -  SOLAR  ENLARfiER, 

THE  LONGEST,  LARGEST,   AND  BEST. 

828  Wood  Street,  Philadelphia. 
OUR  SPECIALTIES. 


BROMIDE  AMMONIUM,  Chem.  Pure. 

BROMIDE  POTASS.,  Chem.  Pure. 

NITRATE  SILVER,  Chem.  Pure. 

FOR  DRY  PLATES. 

CROSS-SWORD    DRESDEN    ALBUMEN    PAPER, 
Single  and  Extra  Brilliant.    The  Best  in  the  Market. 

ALSO  A  GENERAL  LINE  OP 

PHOTOGRAPHIC   CHEMICALS. 

A  circular,  "  How  to  Save  Waste,"  sent  on  application. 

OHAS.  COOPER  &  CO. 

194  Worth  St,  New  York. 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


105 


720  (5  gross)  of  these  trimmers  were  sold  to  one  party  in  July. 


ROBINSON'S 
NEW  MODEL 


PHOTOGRAPH  TRIMMERS ! 


o-j    rt 


■o    £    o 

</)      V      ,n 


These  invaluable  instruments  are  already  used  all  over  the  country,  and 
now,  a  change  of  form  having  permitted  an  immense  reduction  in  price, 
they  must  soon  be  UNIVERSALLY  USED  as  they  afford  a  quicker, 
better,  and  less  expensive  mefhs  of  trimming  photographs  than  any  other. 
The  inventor  assures  photographers  that  his  trimmers  can  be  used  with 
greater  ease  when  held  as  indicated  in  the  drawings  below.  These  trim- 
mers are  now  made  entirely  of  metal,  and  in  quality  are  fully  equal  to  those 
of  the  old  model.  They  answer  for  oval,  round,  arch  top,  and  square 
work. 


y/fj| 

''■WIS 

ilSi 

jS£?r        ^^fiiP' 

\]jkJw Ui-sjmfnn 

IHL^ 

^&\M 

/    } 

\ 

Cut  Trimmer 

Plan 

of 

holding  the 

Straight 

when  in  use.     PRICE,  50    CENTS. 

FLO 


Plan  of  holding  the  Revolving  Trimmer  when  in 
use.     PRICE  (with  one  card  guide)  $1.00. 


OVALS. 

2x2| 

3fx4f 

5x7 

6ix8i 

2Jx3£ 

3£x4f 

5Jx7i 

6*x8J 

2ix3£ 

H*H 

5£x7£ 

7x9 

2fx3f 

3|x5£ 

5fx7| 

7^x9^ 

2fx3f 

4x5f 

5fx7f 

7^  x  9% 

n*H 

4fx6f 

6x8 

7fx9f 

INSON'S     GUIDES- 
MADE  OF  SHEET-IRON. 
We  have  the  following  Regular  Sizes  always  on  hand  at  io  cents  per  inch  the  longest  way  of 
the  aperture. 

SQUARE  OR  ROUND  CORNERED, 

2TLX3|  2T5gX3|  2fx4J  4x5f 

2£x3f  2T^x3i  2£x4f        4£x5£ 

2|x3|  2fx4J  3|x5£        3£x6 

2  5x3if  4x6| 

FOB  STEREOGRAPHS. 

Arch  Tops.  Round  Cornered.  Round. 

3^x31,  3x3         3^x31,  3x3  3x3 

The  above  sizes  suit  the  Collins  Card  Mounts,  and  photographers  knowing  that  they  can  be 
always  had  at  the  low  price  of  ten  cents  per  inch,  would  do  well  to  make  their  sizes  accord,  as 
orders  can  also  be  filled  more  quickly.     Ten  days  are  required  to  make  special  sizes. 

Special  Sizes  made  to  order,  at  15  cents  per  inch,  the  longest  way  of  the  aperture. 

ROBINSON'S  PHOTOGRAPH  TRIMMERS  are  substitutes  for  the  Knife  for  Trimming 

Photographs,  and  do  the  worJc  much  more  expeditiously  and  elegantly. 

They  Save  Time,  Save  Prints,  and  Save  Money. 

They  do  not  cut,  but  pinch  off  the  waste  paper,  and  leave  the  print  with  a  neatly  beveled  edge 
which  facilitates  adherence  to  the  mount.  Try  one,  and  you  will  discard  the  knife  and  punch  at 
once.     For  ovals  and  rounded  corners  they  are  worth  their  weight  in  gold. 

£  DeJiwS.  EDWARD  L.  WILSON,  Manufacturer's  Agent,  1125  Chestnut  St.,  Philada, 

4 


106 


THE    PHILADELPHIA    PHOTOGRAPHER. 


REMOVAL   NOTICE. 

"THE  MOUND  CITY" 

PHOTOGRAPHIC  STOCK  HOUSE. 

Has  Removed  to  their  New  and  Elegant  Building, 

Cor.  Eighth  and  Locust  Streets, 

OPPOSITE  NEW  CUSTOM  HOUSE  AND  POST  OFFICE. 

Where  they  have  better  facilities,  more  and  pleasanter  rooms,  and  are  better 
prepared  than  ever  before  for  supplying  the  wants  of  their  customers. 

SEND  ALONG  YOUR  ORDERS. 

Address 

H.    A.    HYATT, 

Eighth  and  Locust  Sts.,  St.  Louis,  Mo. 

Send  for  Illustrated   Catalogues  and  Price  List  of   Photographic   Goods  and 
Picture  Frames. 


PHOTOBRAPHME  MITTIEILDN6EN. 


We  are  now  prepared  to  receive  subscriptions  for  Dr.  Hermann  W.  Vogel's  magazine  bearing 
the  above  title. 

The  MITTHEILUNGEN  is  published  in  German  and  is  issued  semi-monthly  at  $3.00  per  year, 
postage  paid.  To  all  of  our  German  photographers  and  many  others  this  will  be  considered  a 
desirable  opportunity. 

The  Magazine  is  published  at  Berlin.     Subscriptions  received  by 

EDWARD    L.   WILSON, 

1125  Chestnut  Street,  Philadelphia,  Pa. 


THE    PHILADELPHIA    PHOTOGRAPHER. 


107 


WILSON'S  PHOTOGRAPHIC 


^ 


,. .,§>= j- 


-HjcJI  ¥^E^¥IgE  6N  EVEl^Y  B^]\[CP  0F  Pp@¥66^PpY.3{K- 


THE  PHILADELPHIA  PHOTOGRAPHER. 

A  monthly  Magazine,  illustrated  by  pho- 
tographs of  superior  merit.  $5.00  a  year ; 
$2.50  for  six  months. 

Stands  ahead  of  all  its  kindred.  Eighteen  years  of 
success  is  a  sufficient  guarantee  of  its  value  and  use  to 
the  practical,  working,  growing  photographer.  Do  not 
go  without  its  valuable  help. 


WILSON'S  PHOTOGRAPHICS 

The  newest  and  most  complete 

PHOTOGRAPHIC   LESSON-BOOK, 

Covers  Every  Department. 

352  Pages.    Finely  Illustrated.     Only  $4.00. 

.  By  Edward  L.  Wilson. 


WILSON'S  LANTERN  JOURNEYS. 

By  Edward  L.  Wilson.     In  Three  Vols. 
Price,  $2.00  per  vol. 

For  the  lantern  exhibitor.  Gives  incidents  and  facts 
in  entertaining  style  of  about  2000  places  and  things, 
including  200  of  the  Centennial  Exhibition. 


THE  PROGRESS  OF  PHOTOGRAPHY 

SINCE   1879. 
By  Dr.  H.  Vogel.     Price,  $3.00. 

Issued  July  15th,  1888.     A  splendid  work. 


BIGELOW'S  ARTISTIC  PHOTOGRAPHY. 

Price  reduced  to  $4.00. 

For  the  lover  of  art.  Beats  his  "  Album  of  Lighting 
and  posing."  Superb  !  With  twelve  photographs  and 
instructions. 


THE  FERROTYPER'S  GUIDE. 

Price,  75  cents. 

Cheap  and  complete.     For  the  Ferrotyper,  this  is  the 
only  standard  work.     Seventh  thousand. 


STUDIES  IN  ARTISTIC  PRINTING. 

By  O.  W.  Hearn.     Price,  $3.50. 

Embellished  with  six  fine  cabinet  and  promenade 
portrait  studies. 


PICTORIAL  EFFECT  IN  PHOTOGRAPHY. 

By  H.  P.  Eobinson.     Por  the  Art  Photog- 
rapher.   Cloth,  $1.50.    Paper  cover,  $1.00. 


THE 
PHOTOGRAPHIC  C0L0RISTS'  GUIDE. 

By  John  L.  Gihon.     Cloth  hound,  $1.50. 

The  newest  and  best  work  on  painting  photographs. 


PHOTOGRAPHIC  MOSAICS,  1885. 

Cloth  bound,  $1.00 ;  paper  cover,  50  cents. 
Back  volumess.  same  price. 

Better  than  any  of  its  predecessors. 


COPIES  MAILED  POST-PAID  ON  RECEIPT  OF  PRICE. 


EDWARD  L.  WILSON, 

Photo.  Publisher.  1125  Chestnut  St.,  Philei. 


108 


THE    PHILADELPHIA    PHOTOGKAPHEE. 


THIS  FAVORITE  ANNUAL  NOW  READY. 

144  PAGES— 50  CENTS;   CLOTH  COVER,  $1.00—144  PAGES. 

CONTENTS. 


A  Pot  Pouri  of  the  Past. 

Bits  of  Experience.     Geo.  H.  Croughton,  Phila. 

How  Rapid  are  Dry  Plates?      H.   D..   Garrison, 

Chicago. 
The   Photographic   Dude       J.    Pitcher    Spooner, 

Stockton,  Cal. 
My  Developer.     Wm.  McComb,  Muskegon,  Mich. 
A  Hint  for  the  New  Year.     Marcus   H.   Rogers, 

N.  Brimfield,  Mass. 
Energy.     R.  E.  Wood,  St.  Helena,  Cal. 
A  Rapid  Emulsion.     Geo.  Sperry,  Evansville,  Ind. 
Amateur  Photography  a  Teacher.     A.  Bogardus, 

New  York. 
A  Few  Photographic  Hints.     H.  K.  Seybold. 
Photographic  Experiences.     Dr.  G.  F.  H.  Bartlett, 

Buffalo,  NY. 
Something  Not  Necessarily  Dry.    Chas.  E.  Emery, 

Silver  Cliff,  Col. 
Elevate  Ourselves   First       J.  C.  Moulton,  Fitch- 
burg,  Mass. 
Photo  -Hash.     J.  A.  Sheriff,  San  Diego,  Cal. 
Weak  or  Strong  Development.    Dr.  H.  Sturenberg. 
How  to  Develop  Landscapes  upon  Dry  Plates,  or 

a   Method  of  Testing   Plates   whose   Time   of 

Exposure  is  Unknown.     Dr   H.  W.  Vogel. 
How   to    Make    Home-made    Retouching    Lead. 

Chas.  Latham,  Bradford,  Pa. 
Something  About  Blisters.     B.  T.  Rice,  Frankfort, 

Kansas. 
How    to    Number    Negatives.       H      S.    Stevens, 

Keene,  N.  H. 
A   Few   Things  to   Save   Money.     H.  G.  Parcell, 

Kingsville,  Mo 
An   Amateur's   Views  on  Prices.     W.  R.  Trippe, 

Gdshen,  N.  Y. 
How  I   Got   White   Streaks   on   my   Stereoscopic 

Negatives.     J.  J    Eskill,  Florence,  Wis. 
Practical.     E   E.  Van  Epps,  Hanover,  Kansas 
How  I  Clean  Varnished  Films  from  Old  Negatives. 

E.  D.  Ritton,  Danbury,  Conn 
A  Good  Copying  Paper.     Dr.  Stevenberg. 
A    Few    Notes    for    Mosaics.     Will   A.   Triplett, 

Bluffton,  O. 


M.  H.  Albee,  Marlboro, 
P.  Tressler,  Fort  Scott, 
H.  B.  Hillyer,  Austin, 


27.  The  Lesson  to  Learn 

Mass. 

28.  To    Know    How.      S 

Kansas. 

29.  Whither  are  we  Drifting 

Texas. 

30.  The  Best  Dry  Plate  Developer.   Dry  Plate  Maker. 

31.  The    Cincinnati    Convention.     Chas.    T.    Stuart, 

Hartford,  Conn 

32.  Home-made   Dry   Plates.     Jay  Densmore,  Niles, 

Mich. 

33.  Practical,    Pointed,   and   Clear.     John  D.  Miller, 

Elizabethtown,  Pa. 

34.  A   Very    Convenient   Washing  Box      Mrs.  E.  N. 

Lockwood,  Ripon,  Wis 

35.  On  the  Reduction  of  Negatives.     H.  K   Seybold. 

36.  A  Warning.     Henry  Piatt,  Nantucket,  Mass. 

37.  Slow  Development — a  Word  to  Beginners.     Alfred 

Ganze. 

38.  Home-made  Plates      Ranald  Douglass,  E.  Gardi- 

ner, Mass. 
39    A  Cleaning  Solution  for  Gelatine   Negatives  and 
Positives.     R.  G.  Weiss. 

40.  Gleanings  From  my    Last  Year's   Reading.     Old 

Gray-beard. 

41.  An   Automatic  Washing   Tank.     Geo.    W.  Leas, 

Peru,  Ind. 

42.  Smoked  Negatives.    W.  H.  Sherman,  Milwaukee, 

Wis 

43.  Hints  to  Amateurs.  Xanthus  Smith,  Philada.,  Pa 

44.  A  Workman's  Idea.     H.  S   Keller,  Utica,  N.  Y. 

45.  About  Prices.     John  C    Patrick,  Batavia,  N.  Y. 

46.  Exposure      Ellerslie  Wallace,  M.D.,  Philada. 

47.  On  the  Delectable  Dry.     Wm.  H.  Rau,  Philada. 

48.  Photography  in  its  Relation  to  Art.  John  Bartlett, 

Philada._ 

49.  The  Attractive  Properties  of  a  Photograph.     C.  M. 

French,  Garrettsville,  O. 

50.  A  New   Method   of  Developing   Dry  Plates.     D. 

Bachrach,  Jr.,  Balto.  Md. 

51.  Our  Way   is   our   Hobby.     Miss  H.  H.  Flanagin, 

Woodstown,  N.J. 

52.  "Nothing  to  Say."     J.  H.  Hallenbeck,  N.  Y. 


EDWARD  L.  WILSON,  Photo.  Publisher,  No.  1125  Chestnut  Street,  Philada. 

FOR  SALE  BY  ALL  DEALERS. 


THE    PHILADELPHIA    PH0T0GEAP1I E  R. 


109 


SCOVILL'S 

NEGATIVE  WASHING  BOXES. 


GUARANTEED  NOT  TO  RUST. 

It  is  necessary  at  a  certain  stage  of  development  to  remove  from  photographic  nega- 
tives all  traces  of  Hyposulphite  of  Soda,  and  it  is  not  generally  convenient  to  place  them 
where  water  will  flow  over  their  surface  a  sufficient  length  of  time  to  accomplish  this  effec- 
tually, without  injury  to  the  sensitive  film.  To  watch  the  plate  is  to  waste  time.  The 
flow  over  it  should  be  with  gentle  force.  This  can  best  be  regulated,  and  a  thorough 
cleansing  from  Hyposulphite  of  Soda  of  every  portion  of  the  negative  be  assured,  by  the 
employment  of  one  of  the  Negative  Washing  Boxes  above  pictured.  Plates  are  simply 
slid  into  the  grooves,  a  guarantee  that  the  film  will  not  be  disturbed  or  marred ;  a  bit  of 
hose  is  slipped  over  a  tap,  and  then  at  the  other  end  over  the  spout  on  the  box.  If  need 
be,  another  section  of  rubber  tubing  is  used  to  carry  off  the  waste  water  to  an  outlet. 
After  this  simple  preparation  the  Washing  Box  is  in  readiness  for  service. 


. 

*-^£             1    H)1\JU     UlOl 

~e^ 

No.  1, 

for3ix    41 

Plates,  . 

.    $1   20 

"   2, 

"4x5 

"        . 

1  25 

"   3, 

"    4£x    5* 

"        . 

1  30 

"   4, 

"    41- x    6J 

u 

1  35 

"   5, 

"5x7 

(( 

1  40 

"  6, 

"5x8 

u 

1  50 

"  7, 

"    6Jx    8J 

u 

1  75 

"   8, 

"    8    xlO 

(( 

2  25 

LARGER  SIZES  MADE  TO  ORDER. 
Painted  Negative  Washing  Boxes,  4  O  cts.  additional  for  each  size. 

Qloth  Rubber  Hose  Supplied  for  the  above  Boxes  at  28  cts.  Per  Foot, 
SCOVILL  MANUFACTURING  CO. 


110 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


A  SPLENDID  THINK  FOR  PHOTOGRAPHERS. 

.A.     IVTEST.A.IL.Il.IO 

PROTECTING    CASE, 

With  Glass  Bottle  and  Graduate  Tumbler,  for  Photo.  Developer 
and  other  Solutions. 

Those  who  have  worked  in  the 
field  have  wished  very  often  for  some 
safe  method  of  carrying  with  them 
their  developer  and  other  chemicals  in 
solution.  A  most  useful  article  is  in 
the  market  which  answers  the  purpose. 
We  allude  to  the  patent  metallic  pro- 
tecting cases  invented  for  similar  pur- 
poses. The  bottles  may  be  of  ordinary 
shape  so  they  fit  the  metal  case,  which 
latter  is  drawn  from  sclid  metal,  with 
a  locking  ring  on  each  case  to  afford 
perfect  protection  for  the  bottles  con- 
taining the  liquids  which  are  trusted 
to  their  care.  They  are  made  of  dif- 
ferent sizes  :  bottles  of  one,  two,  four, 
and  eight  ounce  mixtures,  and  each 
case  is  made  adjustable  to  bottles  of 
different  lengths.  They  are  made  very 
light,  and  the  corrugation  makes  them 
so  strong  as  to  resist  crushing.  They 
can  be  packed  in  any  position.  The 
metal  is  drawn  of  even  thickness 
throughout,  by  machinery  which  has 
the  weight  of  thirty  thousand  pounds. 

The  first  figure  represents  the  case 
closed,  and  the  second  open  with  the 
bottle  therein.  The  use  of  this  arrange- 
ment assures  the  photographer  that  he 
has  a  safely  kept  stock  on  hand  of  any 
needful  solution. 

^ — + PRICE   LIST. •*■ — ^ 

Ua     1  Diameter,  lfg  in.     Length,  3%  in.    Weight,  &%  oz.    Furnished  with  1  oz. 

WU.    1.     bottle,  each,     .  .         . $050 

W*v     O    A  Diameter,  3  in.    Length,  5%   in.    Weight,  7%   oz.     Furnished  with 

llU.   O   21.     4  oz.  bottle,  with  tumbler,  making  j£  pint  flask,  each, O  85 

Nft     A    A  Diameter,  3^    in.    Length,   7   in.     Weight,  14   oz.     Furnished  with 

11 U.   1  XI.     8  oz.  bottle,  with  tumbler,  making  y2  pint  flask,  each, 1  10 

No     1^    A  Diameter,  %%   in.    Length,  6  in.    Weight,  17  oz.    Furnished  with 

11 U.    Id   H.     8  oz.  bottle,  with  tumbler,  making  %  pint  flask,  each,  .      1  30 


TRY    THEM.      NO    MORE    LEAK    OR    BREAK. 

SCOVILL  MANUFACTURING  CO., 


W.  Irving  Adams,  Agent. 


423  Broome  Street,  New  York. 


THE    PHILADELPHIA    PHOTOGRAPHER.  Ill 

The  PHOTOGRAPHIC  COLORISTS'  GUIDE 

By  the  late  JOHN  L.  GIHON. 


PHOTOGRAPHIC  COLORING.— The  growing  demand  for  a  fresh  work  on 
Photographic  Coloring,  one  that  contains  full  instructions  on  all  the  new  and  improved 
methods — for,  like  Photography  itself,  Photo.  Coloring  has  improved  and  progressed — has 
ed  to  the  publication  of  the  same. 

A  Tremendous  Demand  for  the  Book  continues.    Read  what  it  contains. 

Preface. 


Chap.  V.  Relative  to  the  Use  of  Paints  that 
are  Mixed  with  Oil. 
VI.  Coloring  with  Pastels. 
VII.  The  Production  of  Ivorytypes. 
VIII.  The  Crystal  Ivorytype. 
IX.  Crayon  "Work. 

X.  Negative  Retouching. 
XI.  About  Matters  so  far  Forgotten. 
XII.  Rudimentary  Perspective. 

fg^The  last  chapter  is  on  a  subject  entirely  new  and  fresh,  and  is  finely  illustrated. 


Chap.  I.  On  India-ink  "Work. 

II.  The  Principles  to  be  Considered 
in  the  Application  of  Colors. 

III.  The  Materials  used  in  Finishing 

Photographs  with  "Water  Colors. 

IV.  "Water-color  Painting  as  Applied 

to  Photographs. 


Mailed  on  receipt  of  price,  $1.50  per  copy. 
EDWARD  L.  WILSON,  Photo.  Publisher,  1125  Chestnut  Street,  Philada. 

^sS  I?-  MAGEE  &  OQ 


MANUFACTURERS   OP  PURE 


Photographic  Chemicals, 

JJo.  622  Pace  Street,  Philadelphia. 

g^gp  The  Standard  Quality  and  Purity  of  our  Chemicals  make  them  the  most 
desirable  and  reliable  for  photographic  use. 


-fes-t.  STOCKDEALERS   ONLY  SUPPLIED.+ 


PPPWPS  of  GOMD  and  SI^Ypp  WJkS7$. 

Waste  sent  through  Stockdealers  will  receive  prompt  attention.' 


112  THE    PHILADELPHIA    PHOTOGEAPHEE. 


A    GREAT  SUCCESS! 

THE 

NEW  DRESDEN  ALBUMEN 


THREE  CROWN  PAPER. 


^JadeMa^ 


DRESDEN  ALBUMEN  PAPER 


^JadeM^ 


For  Sale  by  all  Photo.  Stockc/ealers. 


SCOVILL  MANUFACTURING  CO., 

NEW  YORK. 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


113 


On  and  after  March  1st,  I  will  make  the  following  Reduction : 


3XX4X 

4  x5 

4X*5X 

5  x7 


.  $    50 

5   x8 

$1   45 

14x17 

75 

6^x8^   ■ 

1  90 

16x20 

85 

8   x  lO 

2  80 

17x20 

1  05 

lO  x  12 

4  50 

18x22 

1  30 

11  x 14   . 

5  85 

20  x  24 

810  50 

14  50 

15  25 
18  OO 
21  50 


CRAMER'S  LIGHTNING  PLATES. 


TO  MEET  THE  DEMAND  FOB 

An  Extremely  Rapid  Plate 

I  am  now  making  the  above  new  brand  (blue  label),  which  is  about  twice  as  rapid 
as  my  "Extra  Eapid"  and  nearly 

TWENTY  TIMES  MORE  RAPID  THAN  COLLODION. 


THIS  NEW  PLATE  COMBINES 

EXTREME  RAPIDITY, 

FINE  CHEMICAL  EFFECT, 

PERFECT  CLEARNESS, 

GOOD  INTENSITY, 

EASY  TO  DEVELOP, 

And    CANNOT    BE    EXCELLED. 


For  all  cases  where  Extraordinary  Eapidity  is  desirable  and  for  Large 
Work  these  "  Lightning  Plates  "  will,  upon  trial,  prove  their  superiority  over 
all  others. 

My  regular  brand,  the  "Extra  Eapid"  (yellow  label),  which  is  so  well 
known  and  sufficiently  sensitive  for  general  use,  will  be  kept  up  to  its  usual  high 
standard. 

BOTH  BRANDS  SAME  PRICE. 

WILL    BE    FOR    SALE    BY    ALL    DEALERS. 


DRY-PLATE  WORKS,  ST.  LOUIS,  MO. 

5 


114  THE    PHILADELPHIA    PHOTOGEAPHEE. 


GIHON'S 

CUT-OUTS 

An  Entirely  New  Variety  for 

Printing  Medallion  Pictures. 


Are  the  very  best  that  are  made,  and  are  now  without  a  rival  in  the  market.  They  are  clean 
cut,  most  desirable  shapes  and  sizes,  and  made  of  non-actinic  paper,  manufactured  specially  for  the 
purpose.  Each  package  contains  30  Cut-Outs,  or  Masks,  with  corresponding  Insides,  assorted  for 
five  differently  sized  ovals  and  one  arch-top. 

Price,  $1.00  per  Package.    Sent  by  mail  on  receipt  of  price. 

Parties  wishing  special  sizes,  or  large  lots  of  a  few  sizes,  may  have  them  cut  to  order  promptly, 
by  addressing  the  manufacturer.      No  lot  costing  less  than  $1.00  made  at  a  time. 
^f^No  printer  should  attempt  to  make  Medallion  Pictures  without  them. 

They  Have  no  Equal  for  Quality. 

Beware  of  spurious  imitations  made  of  common  paper,  full  of  holes,  badly  cut,  and  odd  shapes  and 
sizes.  Ask  your  Stock-dealer  for  GIHON'S  CUT-OUTS,  and  see  that  they  are  in  his  envelope,  with 
instruction  circular  included.  The  recent  packages  are  composed  of  an  entirely  new  variety  and  ot  a 
new  paper.     TRY  THEM. 

Promenade  Size  now  Eeady.        Sold  Separately  at  50  cents  per  Dozen. 


GIHON'S  OPAQUE 

Is  designed  for  Completely  obscuring  the  Imperfect  Backgrounds  of  Copies,  Retouching  Nega- 
tives, Faulty  Skies  in  Landscapes,  Coating  the  Inside  of  Lenses  or  Camera  Boxes, 
Backing  Solar  Negatives,  Covering  Vignetting  Boards, 
And  for  Answering  all  the  Requirements  of  the  Intelligent  Photographer  in  the  Production 

of  Artistic  Results  in  Printing. 

Wherever  you  want  to  keep  out  Light,  use  Opaque. 

IT  IS  APPLIED  WITH  A  BRUSH,  DRIES  Q,UICKXY  AND  STICKS. 


CUT-OUTS  (thirty),  $1.00.         OPAQUE,  50  Cents. 

FOR  SALE  BY  ALL  DEALERS. 


Address  all  orders  to 

SCOVILL  MANUFACTUEING  CO.,  New  York. 


THE    PHILADELPHIA    PHOTOGKAPHEK.  115 


BEST 


DRES 


D£lV 


EXTRA  inWI)  BRILLIANT 


4^MENPA?^ 


Ever  Offered  to  Photographers. 

WHITE,  PINK,  PENSE. 


FREE  FROM  BLISTERS  AND  IMPERFECTIONS. 


A  NEW  PAPEE.    NOW  READY. 

EAGLE  SATIN  FINISH, 

IN  PENSE  AND  PEARL. 

Although  my  importations  of  paper  have  had  a  most  satisfactory  sale,  and  the  old  favorite 
brands  will  be  continued  in  the  market  of  the  same  quality,  I  have  a  New  Brand  which  I  offer 
for  public  favor  which  I  believe  to  be  SOMETHING-  SUPERIOR. 

*@~$36.00  A  REAM,*^*       *^A  REAM  $36.00.°^ 

FOB  SALE  BY  ALL  DEALEBS. 

IMPORTED  BY 

G.  GENNERT, 

54  B.  TENTH  ST.,  NEW  TORE. 

FOR   SALE    BY    ALL   DEALERS. 


EASTERN  AGENT  FOR  THE  CRAMER  DRY-PLATES. 


116  THE    PHILADELPHIA    PHOTOGKAPHEK. 


A.  M.  Collins,  Son  &  Co. 

MANUFACTURE  ALL    KLJVDS    OF 

CARDS  AND  CARDBOARDS 


FOR 


Photographer^ 


AND 


MATS.  MOUNTS.  AND  ENVELOPES 


J 

FOE 


FERROTYPES. 


OFFICE  AND  WAREHOUSE, 

No.  527  ARCH  STREET, 

PHILADELPHIA. 


Price  Lists  may  be  had  by  intending  purchasers  on  application 

to  us,  or  to  all  Photographic  Merchants,  through  whom 

your  favors  are  respectfully  solicited. 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


117 


THEMI 


WAYMODTH'S  VIGNETTE  PAPERS. 


No.  15 


THE 


Ormsliy  Pattern, 

PEAR  SHAPE 

Now  Ready, 

$1.00  PER  DOZ. 


They  are  not  clumsy ;  do  not 
break;  are  always  ready ;  cost 
but  little,  and  are  easy  of  appli- 
cation to  any  negative.  They 
need  but  one  adjustment  to  print 
any  quantity.  They  entirely 
do  away  with  all  the  old  and 
troublesome  methods,  either 
wood,  metal,  or  cotton. 


19  Sizes 


ARE 


Now  Made 

PEAR  SHAPE. 

Prices  Below. 


They  are  printed  in  black 
for  ordinary  negatives,  yellow 
bronze  for  thin  negatives,  and 
red  bronze  for  still  weaker  ones. 
Directions  for  use  accompany 
each  parcel. 


SEE  WHAT  THOSE  WHO  USE  THEM  SAY. 

The  Vignette  Papers  are  just  the  thing.  They  are  a  great  improvement,  and  will  print 
in  little  more  than  half  the  time  required  for  others.  The  results  are  everything  that  can 
be  desired,  as  you  can  see  by  samples  inclosed.  E.  D.  OEMSBY,  San  Francisco. 

FROM  PROFESSIONAL  AND  AMATEUR  PHOTOGRAPHERS. 

"  First-class." — "  The  sample  sent  answers  perfectly." — "  I  consider  them  first-rate  articles."—"  They  answer  the 
purpose  admirably." — "They  are  the  best  vignettes  I  have  ever  had,  and  as  you  can  print  in  full  sunlight,  they  are  a 
great  saving  of  time." — "  They  could  not  be  better,  oblige  me  with  another  packet." — "  I  find  them  excellent,  giving 
much  softer  pictures  than  the  old  way." — "  I  have  tried  one  of  the  Vignette  Papers,  and  like  it  much ;  send  me 
packets  two  and  three." — "  I  am  much  pleased  with  them,  and  shall  thank  you  to  send  me  another  packet." — "I  did 
not  need  any  copies  of  testimonials,  having  well  known  by  experience  that  your  Vignette  Papers  were  superior  to 
anything  I  have  ever  used." — "I  found  those  you  sent  before  excellent." — "Vignetting  Papers  received  and  tested; 
can't  be  beat.  I  use  by  cutting  an  opening  in  a  piece  of  card-board  and  tacking  to  the  printing-frame,  when  I  am  ready 
for  printing  vignettes  in  the  very  best  manner." — "  Waymouth  Vignette  Papers  I  have  tried,  and  they  are  just  what  I 
have  been  wanting  for  years." 

THOSE  WHO  SELL  THEM! 


ALL  STOCK-DEALERS 


INCREASE 
THEIR 


ORDERS  LARGELY 


EVERY 
MONTH 


Better  than  any  patent  machine— trouble,  and  sell  better  every  month. 

PRICES: 

In  parcels  containing  one  dozen,  assorted,  from  Nos.  1  to  5 $0  50 

In  parcels  containing  one  of  each  size,  Nos.  1  to  15,  assorted  colors 1  00 

Assorted  sizes  and  colors,  by  number,  per  package  of  15 1  00 

Nos.  1,  2,  3,  4,  and  5,  assorted  sizes  and  colors,  for  Cartes,  by  number,  per  doz 50 

»     6,  7,  11,  12,  and  13,     »          »                  »       Large  Cartes  and  Victorias  by  number,  per  doz 75 

»     8,  9,  10,  14,  15,  and  15%,  assorted  sizes  and  colors,  Cabinets  and  Whole-size,  by  number,  per  doz 1  00 

»     16,17,18,                                »                 »             »       Half           »               »                     »               »       125 

When  ordering,  state  the  number  and  color  you  want. 

EDWARD  L.  WILSON,  Manufacturer,  1125  Chestnut  St.,  Philad'a. 

FOR  SALE  BY  ALL  DEALERS. 

No.  18,  PEAR  SHAPE,  LAST  INTRODUCED,  $1.25. 


118  THE    PHILADELPHIA    PHOTOGRAPHER. 


HANCE'S 

—SPECIAL- 


SPECIALTIES. 

I  Anderson's  Portrait  Collodion. 
This  is  especially  a  Winter  Collodion,  and  guaranteed  to  work  with  the  loveliest  har- 
mony, and  the  most  exquisite  softness,  and  freedom  from  all  the  winter  troubles 
which  Photographic  Collodion  is  heir  to.     1®°*  None  genuine  unless  the  signature  of  Elbert 
Anderson,  the  great  dark-room  operator,  author,  etc.,  is  pasted  over  tne  cork  of  the  bottle. 

II 


Ground  Glass  Substitute. 


Is  an  indispensable  article  in  the  photographic  gallery.     There  are  so  many  uses 
to  which  it  can  be  applied  that  a  photographer  having-  once  given  it  a  trial,  will 

never  be  without  it,  as  there  is  nothing  known  that  will  take  its  place. 

The  substitute  is  in  the  form  of  a  varnish,  is  flowed  and  dried  the  same  as  varnish,  but 

dries  with  a  granulated  or  ground-glass  surface. 

For  Ground  Glass  for  Cameras. 


For  Vignette  Glasses. 
"    a  Retouching  Varnish. 
"    Softening  Strong  Negatives. 
"    the  Celebrated  Berlin  Process. 


"    Glazing  Sky  and  Side  Lights. 

"    Obscuring  Studio  and  Office  Doors. 

"    Printing  Weak  Negatives. 

All  imitators  have  given  it  up.     They  can't  make  it.     GIVE  IT  A  TEIAL. 


PRICE,  50  CENTS  PER  BOTTLE. 


Hanee's  Delicate  Cream  Gun 

OottOH  Is  the  King  Cotton,  and  has  no  peer. 

Prepared  with  particular  care,  warranted  free  from  acid,  and  very  soluble.  It  has  made 
its  way  steadily  and  surely  into  most  of  the  principal  galleries  in  the  country,  where  parties 
prefer  to  make  their  own  collodion,  and  its  superior  qualities  are  shown  in  the  medals 
awarded  at  the  Centennial,  Vienna,  and  Paris  Exhibitions  fur  photographs  made  with  col- 
lodion in  which  it  was  used. 

It  is  especially  adapted  to  the  Rembrandt  style,  and  light  drapery.  Its  sensitiveness 
renders  it  particularly  adapted  for  children  or  any  work  that  requires  short  exposure,  though 
admirable  as  well  for  all  work. 

PRICE,  80  CENTS  PER  OUNCE. 

Also,  TRASK'S  FERROTYPE  \  fl  flTTAlHOItJ 
HANCE'S  DOUBLE  IODIZED  jUUljljUViUll 

PRICE,  $1.50  PER  POUND. 

FOE  SALE  BY  ALL  STOCK-DEALERS.  NO  EETAIL  ORDERS  FILLED.  ORDER  OF  TOUR  DEALER 

SCOVILL  MFG.  CO.,  TRADE  AGENTS,  NEW  YORK. 


THE    PHILADELPHIA    PHOTOGKAPHEK.  119 

JAMES   INGLIS, 

MANUFACTURER  OF  THE 

Inglis  Dry  Plates, 

ROCHESTER,  N.  Y. 


Inglis'  New  Dry  Plate  has  the  following  qualities : 

I  find  them  extremely  rapid ;  good  printing  density.  The 
gradation  is  fine,  from  the  highest  light  to  the  deepest  shadow, 
and  all  so  crisp,  yet  nothing  harsh.  .  .  .  Send  me  one  hundred 
dollars'  worth.  If  you  can  make  plates  uniformly  as  good  as 
these  you  have  reason  to  feel  proud.     Wishing  you  every  success. 

Yours  respectfully, 

Glens  Falls,  January  28,  1885.  FRANK   M.  TaPP. 


We  can  and  we  do  make  them  just  as  good  every  day,  and  we 
do  feel  proud,  and  so  do  nineteen  out  of  every  twenty  who  have 
tried  them.  Every  mail  brings  us  similar  letters  to  the  above 
regarding  their  superior  qualities. 

N.  B.  This  is  a  New  Brand,  which  should  not  be  confounded 
with  our  old  Extra  Quicks  and  Regulars. 

Scovill  Mfg.  Co.,  Agents. 
James  Inglis,  Rochester,  N.  Y. 


THERE  IS  NO  FEAR  OF  FRILLING. 


SCOVILL  MANUFACTURING  CO,  AGENTS. 

And  For  Sale  by  most  of  the  Dealers. 


120 


THE    PHILADELPHIA    PHOTOGBAPHEK 


JOHN  G.  HOOD. 


ESTABLISHED    1865. 


WM.  D.  H.  WILSON. 


„  soN,   HOOD   & 

\Xj  \  V>  825  Arch  Street,  v>  Q 

PHILADELPHIA, 

SOLE  AGENTS  IN  THE  UNITED  STATES  FOR  THE 


Centennial,  1876. 


Centennial,  1876 


Ross'  Portrait  and  View  Lenses. 


WE  HAVE 

NOW 
IN  STOCK 


Portrait  Lenses,  from  1-4  to  8  x  10. 
Cabinet  Lenses,  Jfos.  3  and  3. 
Card  Lenses,  Nos.  1,  3,  and  3. 
Triplets,  Nos.  1,  3,  3,  4,  5,  6,  and  7. 
[  Symmetricals.    Rapid  Symmetricals. 


Instantaneous  Doublets,  all  sizes. 
Medium  Angle  Doublets,  all  sizes. 
Large  Angle  Doublets,  all  sizes. 
Stereographic  Lenses,  all  sizes. 
New  Universal  Lens. 


Numerous  testimonials  pronounce  them  to  be  the  best  as  well  as  the  cheapest  Foreign  Lenses  ever 
offered  to  the  American  Photographer.   We  will  mail  price  list  on  application,  and  promptly  fill  all  orders. 

Steinheil's  Sons'  apStig  Lenses. 

We  now  have  a  full  stock  of  these  Celebrated  Lenses,  at  the  following  prices  : 


No.  1—  1-4  size, 3]4  inch  focus, $25  00 

»    3—  1-3      »       5^        »  »        30  00 

»    3—4-4      »      r  »  »        45  00 


No.  4—  8x10  size,...  101/ inch,  focus,. ..$60  00 

»    5—10x13      »      ...13J4       »  »     70  00 

»    6—13x16      »      ...16i/       »  »     ....110  00 

Nos.  1  and  2  are  in  matched  pairs  for  stereoscopic  work. 

We  feel  sure  that  at  least  one  of  these  lenses  is  needful  for  the  successful  prosecution  of  your  busi- 
ness, and  so  solicit  your  orders.  Always  in  stock,  to  suit  above  Lenses,  CAMERA  BOXES  made  by 
AMERICAN  OPTICAL  CO.,  SEMMENDINGER,  ANTHONY,  BLAIR,  etc. 

WE  KEEP  IN"  STOCK  PULL  ASSOBTMEETT  OP 

AMATEUR  PHOTO.  OUTFITS 

DRY    PLATES   OF   ALL    MAKES. 

N.  P.  A.  EAGLE  and  S.  &  M.  PAPEE,  PER  REAM,  $30.00, 

Any  article  needed  we  can  supply,  as 
WE  MANUPACTUBE,  IMPOST,  AND  DEAL  IZST  ALL  KINDS  OP 

Photo.  Goods,  Frames,  Stereoscopes  and  Views, 

At  prices  as  low  as  are  consistent  with  the  quality  of  goods  furnished.  We  are  indebted  to  our 
customers  for  the  patronage  during  the  past  Nineteen  Years,  and  our  efforts  shall  be  to  merit  a  con- 
tinuance of  it. 

Illustrated  Price  Lists  supplied  free.    Correspondence  solicited. 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


121 


GET  THE  BEST! 


PRICES  TO  PHOTOGRAPHERS : 

Per  each  Hundred, 

Per  500,  from  the  same  picture, 
Per  1000   " 

With  SSy-b  per  cent,  commission  off,  to 
Photographers  on  all  orders  of  more 
than  500.  Mo  less  than  100  made 

SPECIALTY 
My  Most  ARTISTIC 
DESIGNS  of  own 


$1  50 

7  50 

12  00 


Js^vTaken  from  Cabinet 
^/and  Card  Size  Bust 
Pictures  only. 

My  Portraits  are  endorsed  by 
the  following 
leading  business  firms  : 


G-.  Cramer  Dry  Plate  Works. 
John  A.  Scholten,  Photographer 

F.  W.  GrUERIN, 

Latour, 

E.  Uhlmann, 

J.  F.  Etder. 

P.  S.  Etder', 

Harry  Sutter,  Photographer, 

Theo.  Lilienthal 


St.  Louis. 
St.  Louis. 
St.  Louis. 
Sedalia. 
St.  Joseph. 
Cleveland. 
Syracuse,  N.  Y. 
Milwaukee. 
New  Orleans. 


DOUGLASS,  THOMPSON  &  CO.,  Sole  Apts  for  the  State  of  111. 


To  better  introduce  the  novelty,  it  is  desirable  that  each  gallery  ordering  should  have  a 
special  design,  with  firm  name  and  address  thereon,  so  as  the  more  readily  to  advertise 
themselves  and  inform  the  public  where  same  can  be  procured.     Such  design  will  cost  $6. 

Send  for  samples,  and  address  to  the  Main  Office,  1423  Chestnut  St. 

C.  H.  TONNDORFF,  Original  Inventor, 

1546  Chouteau  Ave.,  St.  Louis,  Mo. 


122 


THE    PHILADELPHIA    PHOTOGEAPHEK. 


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THE    PHILADELPHIA    PHOTOGRAPHER  123 

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124 


THE    PHILADELPHIA    PHOTOGRAPHER 


OPTICAL  LANTERNS 

AND 

LANTERN  SLIDES. 

Nearly  twenty  years'  experience  as  a  Dealer,  Manufacturer,  and  User  of  these   goods, 
enables  me  to  assure  satisfaction  to  every  purchaser. 

>t>=^.EVERYTHING   SUPPLIED.-S=<fr 

LECTURE  BOOKS  ON 


Send  for  New  Catalogue.     (IB  Cents  in  Stamps.) 

A  superb  list  of  Slides  from  recent  personally  made 

Negatives  of  EGYPT,  ARABIA,  ARABIA  PETRiEA, 
SYRIA,  AND  PALESTINE. 

gmr  CATALOGUES  READY.     THE  MOST  UNIQUE  COLLECTION  EVER  OFFERED. 

READ  WILSONS  LANTERN  JOURNEYS. 

THREE  VOLS.    VOL.  Ill,  "THE  ORIENT,"  JUST  ISSUED. 

By  mail,  $2.00  each,  Post-paid. 

EDWARD  L.   WILSON,  No.  1125  Chestnut  Street,  Philadelphia. 


OF  AGE! 


Twenty-one   years   of  service   as   a    Photographic    Magazine 
having   been    fully    completed   hy    The    Philadelphia 
Photographer,  it  can  now  fiilly  claim  to  he 
"OF   AGE." 

It  was  born  when  our  art  was  itself  only  a  stripling,  and  having  grown  up  with  it  and  lived  for 
it,  now  comes  with  confidence  to  the  craft  for  support  during  its  Twenty-second,  year. 

Under  the  same  editorial  care  which  gave  it  birth  and  name,  it  will  continue  its  good  work  in 
the  interests  of  the  art  of  Photography,  with  brighter  prospects  of  usefulness  and  success  than  ever 
before.  In  looking  back  upon  its  past  record,  the  editor  and  publisher  thinks  he  has  won  the 
right  to  claim 

TWELVE  REASONS  WHY  "  THE  PHILADELPHIA  PHOTOGRAPHER"  SHOULD  HAVE  THE 
PATRONAGE  OF  ALL  LOVERS  OF  OUR  ART,  AS  FOLLOWS : 

1.  The  photographic  studies  issued  with  each  number  are  a  great  help  to  workers  under  the 
skylight,  and  well  worth  the  price  asked  for  the  whole  magazine.  Over  forty  of  these  studies 
were  supplied  last  year,  and  some  fine  gems  are  preparing  for  1885. 

2.  The  editor  having  been  connected  with  the  art  for  over  one-half  of  its  existence,  is  wholly  in 
sympathy  with  the  working  craft,  and  well-knows  their  wants  to  supply  them. 

3.  Its  ability  to  anticipate  the  wants  of  the  craft  is  secured  by  its  connection  with  the  practical 
men  of  our  art  all  over  the  world;  and  the  same  long  connection  creates  a  ready  means  of 
obtaining  promptly  all  that  is  needed. 

4.  Its  enterprise  in  taking  up  and  making  popular  and  easy  all  good  processes  and  measures  is 
proverbial. 

5.  Its  war  upon  low  prices,  and  its  endeavors  to  lift  up  the  fraternity  to  better  ones,  as  well  as 
its  usefulness  in  winning  the  press  and  the  public  to  a  better  appreciation  of  our  art,  are  well  known 
to  all. 

6.  It  has  always  been  quick  in  discovering  and  exposing  frauds,  humbugs,  and  attempts  to  injure 
its  patrons.     It  is  operated  for  the  good  of  its  patrons. 

7.  Its  long  standing  as  an  authority  in  our  art,  has  won  it  connection  with  scientists  and  scientific 
bodies  all  over  the  world,  who  send  their  new  things  to  its  editor  first,  over  all  of  its  class. 

8.  Its  circulation  is  International.  There  is  not  a  land  where  English  is  read  that  it  does  not  go 
to.     It  also  circulates  in  every  State  in  the  Union,  about  as  follows : 

New  England,         .  SI. 5  per  cent.  Western  States,      .  24.4  per  cent. 

Middle  States,  .        .    34.1  "  Canada,      ....       8.3  " 

Southern  States,     .        .    16.4  "  Foreign,     ....       5.3  " 

Thus  giving  the  best  means  of  advertising,  and  thus  securing  the  best  circulation  among  the 
active  votaries  of  the  art. 

9.  Its  form  has  been  adopted  by  all  the  other  American  magazines  of  our  art  (all  its  junior), 
but  its  quality  and  artistic  appearance  have  not  been  reached  by  any. 

10.  Its  standing  as  the  leading  magazine  of  its  kind,  has  been  maintained  ever  since  it  began. 
"  It  is  the  best  of  its  class,"  say  press  and  patrons. 

11.  Its  success  has  been  a  success,  though  its  price  is  higher  than  that  of  any  of  its  con- 
temporaries. The  best  artists  often  write,  "  I  don't  care  how  many  other  journals  there  are,  or 
how  low-priced.  I  must  have  The  Philadelphia  Photographer." 

12.  It  is  the  cheapest  of  all,  because  "  the  best  is  always  the  cheapest."  You  cannot,  therefore, 
afford  to  do  without  it. 

SUBSCRIBE  NOW.     $5.00  a  year ;  $2.50  for  six  month;  50  cts.  a  copy. 

It  has  been  our  custom  for  many  years,  to  give  old  subscribers  a  premium  for  new  subscriptions 
sent  in  addition  to  their  own.  We  continue  this  plan  by  offering  one  dollar's  worth  of  our 
publications  for  each  such  additional  subscriber  for  a  year.  Please  do  all  you  can  to  increase  our 
usefulness  in  behalf  of  the  glorious  art  of  photography.     It  is  to  your  interest  to  do  so. 

For  1885  we  have  some  useful  schemes  and  novelties  under  way,  which  will  be  presented 
from  time  to  time.  Our  old  subscribers  are  asked  to  renew  now  for  1885,  so  that  the 
January  issue  will  reach  promptly.     IT  WILL  BE  A  GEM. 

Contributions  from  both  Actives  and  Amateurs  are  invited.  Proceedings  of  Societies  are  very 
useful  and  should  be  sent  promptly. 

EDWARD  L.  WILSON,  Editor,  Publisher,  and  Proprietor,  1125  Chestnut  St.,  Phila. 


NOTICE   TO    SUBSCRIBERS. 


In  remitting  by  mail,  a  post-office  or- 
der, or  draft,  payable  to  the  order  ot 
Edward  L.  Wilson,  is  preferable  to 
bank-notes.  Postage  stamps  of  the 
denomination  of  two  and  five  cents 
each  will  be  taken.  Clearly  give  your 
Post-Office,  County,  and  State. 

Foreign  subscriptions  must  be  ac- 
companied by  the  postage  in  addi- 
tion. 


ADVERTISING  sheets  are  bound 
with  each  number  of  the  Magazine. 
Advertisements  are  inserted  at  the  fol- 
lowing rates : 

One         Six         One 
Month.  Months.   Year. 

One  Page #20.00  $110.00  #200.00 

Half    "    12.00       66.00     120.00 

Quarter  Page...  7.00  38.50  70.00 
Eighth  "  ...  4.00  22.00  40.00 
Cards,    6  lines 

orless 2.00       11.00       20.00 


The  attention  of  advertisers,  and 
those  having  galleries,  etc.,  for  sale 
is  called  to  our  Specialties  pages 
Terms,  $2  for  six  lines,  and  25  cents  foi 
each  additional  line,  seven  words  to  a 
line,  always  in  advance.  Duplicate 
insertions,  50  cents  less,  each. 

We  have  added  an  Exchange  Column 
to  our  Magazine,  wherein  photogra- 
phers having  articles  for  exchange  can 
insert  advertisements  at  the  low  price 
of  15  cents  per  line,  or  fraction  of  a 
line,  of  seven  words  to  a  line. 

Operators  desiring  situations,  no 
charge. 


TO  OUR 


Patrons  and  the  Fraternity. 


Gentlemen  : 

At  the  beginning  of  another  year  we  solicit  your  attention  to  our  claims  for 
your  patronage.  We  have  mastered  the  difficulties  of  a  trying  year,  and  while 
we  may  not  come  out  richer  in  pocket,  we  are  surely  many  per  cent,  richer  in 
experience,  and  in  that  respect  more  able  to  serve  you.  We  are  constantly  put- 
ting new  goods  on  the  market,  and  it  will  be  our  endeavor  to  give  you  the 
best  results  of  our  energy  and  thought ;  we  are  young  and  ambitious  to  be  con- 
sidered the  best  and  ever  progressive,  whether  we  are  capable  of  the  honor  or  not, 
we  must  leave  it  with  you  to  decide.  It  shall  be  our  aim  to  give  you  the  best 
goods  rather  than  the  cheapest ;  good  workmen  use  good  tools — for  these  we  wish 
to  cater.  We  do  not  publish  testimonials,  although  we  have  some  of  the  most 
flattering  on  our  letter-files  (all  coming  unsolicited),  believing  that  intelligent 
men  tire  of  such  useless  literature,  especially  since  most  flowery  and  profuse  ones 
are  obtained  of  articles  devoid  of  merit,  for  the  good  and  the  bad  they  read  alike. 
Our  apparatus  factory  is  now,  we  believe,  one  of  the  largest  and  most  complete 
in  the  world,  the  machinery  being  new  and  made  especially  for  our  purpose. 

In  our  combination  with  Mr.  A.  Marshall  forming  the  Marshall  &  Blair  Co., 
we  believe  we  have  struck  the  key-note  to  a  plan  for  furnishing  photographers 
with  a  plate  which  will  equal  any  in  the  market.  While  our  facilities  enable  us 
to  place  them  on  the  market  at  a  modest  figure,  it  has  always  been  our  belief 
that  some  effort  should  be  made  to  furnish  photographers  with  a  reliable  plate  at 
a  small  margin  of  profit,  owing  to  the  quantity  used.  In  doing  this  we  believe 
the  best  interest  of  the  manufacturer,  dealer,  and  consumer  would  be  promoted. 
To  the  accomplishment  of  this  end  we  are  laboring,  and  trust  you  will  give  our 
plate  a  trial  and  be  convinced  we  are  worthy  of  our  encouragement.  In  wishing 
you. a  prosperous  New  Year,  we  would  ask  you  not  to  forget  us  or  fail  to  read  our 
advertisements;  they  will  appear  monthly  in  the  advertising  columns  of  this 
journal. 

Fraternally, 

The  Blair  Tourograph  and  D.  P.  Co., 

T.  H.  Blair,  Treas.  and  Manager. 
(SEE  PAGE  56.) 


22d  YEAE, 


,  1885. 


Number  256. 


50  Cents. 


THE 


PHILADELPHIA 


/ 


fefltfljjraptten 


AN  ILLUSTRATED  MONTHLY  JOURNAL, 


DEVOTED  TO  PHOTOGRAPHY. 


EDITED  BY  EDWARD  L.  WILSON. 


PHILADELPHIA:   EDWARD  L.  WILSON, 

PUBLISHER  AND   PROPRIETOR, 

No.  1 1 25  Chestnut  Street. 

SUBSCRIPTIONS  RECEIVED  BY  ALL  NEWS  AND  STOOKDEALERS. 
Five  Dollars  per  Annum,  in  Advance. 


Entered  at  the  Post-Office  at  Philadelphia  as  second-class  matter. 


WILSON'S  PHOTOSKAPRTCS,  Fourth  Thousand,  $4.00.  ^SaBBfiP> 


SUMMARY    OF    CONTENTS. 


Photography  at  the  New  Orleans  Exposition,  .     97 

Our  Picture, 101 

Review   of  the   Photographs  in    Philadelphia 
Photographer    for    1884.     By    Charlotte 

Adams, 103 

German  Correspondence, 106 

An  Answer  to  an  Amateur, 108 

Whose  Hand  are  we  In?     By  L.  M.  Rice,  .     .  109 
Gleanings, 110 


PAGB 

Society  Gossip 113 

Photography  and  Art  Illustration,       ....  120 
The  New  Departure  in  Paper  Printing — Car- 
butt's  Gelatino-Chloride  Paper,     ....  123 

Obituary, 125 

The  Pleasures  of  Photography.     By  Xanthus 

Smith, 125 

Editor's  Table, 127J 


Embellishment. — Pacific  Coast  Amateur  Club.     Passavant  Dry  Plates. 


ADVERTISEMENTS. 


ALLEN  BROTHERS.     The  Suter  Lens. 
ANTHONY  &  CO.,  E.  &  H.  T.     The  New  N.  P.  A- 

Pense  Extra  Brilliant  Dresden  Albumen  Paper. 
BIGELOW'S  ARTISTIC  PHOTOGRAPHY. 
CARBUTT,  J.     Gelatine  Dry  Plates  and  Improved 

Dry  Plate  Lantern. 
BUCHANAN,  SMEDLEY  &  BROMLEY.     Photo- 
graphic Supplies. 
COLLINS,  SON&  CO.,  A.  M.     Photograph  Cards. 
COOPER,  CHAS.  &  CO.     Union  Negative  Cotton. 
CRAMER,  G.      Lightning  Plates. 
CROSSCUP  &  WEST.     Engravers. 
DEALERS'  DIRECTORY. 
DOUGLASS,  THOMPSON  &  CO.     Supplies  for  the 

Art-Science  of  Photography. 
FRENCH  &  CO.,  BENJ.    Voigtlander  &  Son  and 

Darlot  Lenses.     The  Wonderful  Euryscope. 
GENNERT,  G.     Albumen  Paper.     C.  Bb'hmke  & 

Co.'s  Improved  Aplanats. 
HANCE'S  SPECIALTIES. 
HODGE  &  HUSTON.     The  Solar  Printers. 
HYATT,  H.  A.     New  Brand  of  Dry  Plates. 
INGLIS,  JAMES.     "Insoluble"  Dry  Plates. 
KEEVIL'S   PATENT    NEWTONIAN    DUPLEX 

LANTERN. 
MAGEE  &  CO.,  JAS.  F.    Photographic  Chemicals. 


MOORE,  ALBERT.    Solar  Enlarger. 

MOSAICS,  1385. 

OPTICAL  LANTERNS  AND  SLIDES. 

PASSAVANT'S  DRY  PLATES. 

PHOTOGRAPHIC  COLORISTS'  GUIDE. 

PHOTOGRAPHIC  PROGRESS  SINCE  1878. 

PHOTOGRAPHIC  PUBLICATIONS. 

PHOTOGRAPHISCHE  MITTHEILUNGEN. 

PICTORIAL  EFFECT  IN  PHOTOGRAPHY. 

ROBINSON'S  NEW  MODEL  PHOTO.  TRIMMER. 

SCOFIELD'S  UNIQUE  CAMERA. 

SCOVILL  MANUFACTURING  CO.  New  Dres- 
den Albumen  Three  Crown  Paper.  Negative 
Washing  Boxes.     Gihon's  Cut-Outs. 

THE  BLAIR  TOUROGRAPH  AND  DRY  PLATE 
CO. 

THE  HELIOTYPE  PRINTING  CO. 

THE  PHOTO-GRAVURE  COMPANY. 

WAYMOUTH'S  VIGNETTE  PAPERS. 

WILKINSON  &  CO.     Artists  and  Opticians. 

WILSON,  HOOD  &  CO.  Ross  and  Steinheil  Lenses, 
Photo.  Frames,  Goods,  Stereoscopes,  and  Views. 

WILSON'S  PHOTOGRAPHICS. 

WILSON'S  LANTERN  JOURNEYS. 

WILSON'S  VIEWS  OF  THE  ORIENT. 


119  South  Fourth  St. 

PHILADELPHIA. 

Branch  Office, 
60S  Seventh  Street, 

WASHINGTON,  D.  G. 


H.  HOWSON, 

Engineer  and  Solicitor  of  Patents. 

C.  HOWSON, 

Attorney  at  Law,  and  Counsel  in 
Patent  Cases. 


THE  PHILADELPHIA  PHOTOGRAPHER.       81 


The  Photo-Gravure  Company, 

OFFICE 

853  BROADWAY,  NEW  YORK. 

(The    "  Domestic "    Building,  \ 
Broadway  and   14th  Street.    / 


PRESIDENT,  ERNEST  EDWARDS,  —  late  of  the  Heliotype  Printing 
Company,  of  Boston,  and  Inventor  of  the  Heliotype  Process. 

VICE-PRESIDENT  AND  TREASURER,  WALTER  B.  MOORE, 
—  Editor,  "  The  Public  Service  of  the  State  of  New  York." 

SECRETARY,  W.  I.  SCANDLIN,  —  late  Manager  New  York  Office, 
Heliotype  Printing  Co. 


THE  PHOTO-GRAVURE  COMPANY  will  com- 
mence business  on  March  ist,  with  an  office  fully 
equipped  for  PHOTO-MECHANICAL  PRINTING  AND 
PUBLISHING.  Their  specialties  will  be  ART  and 
SCIENTIFIC  work  and  ART  CATALOGUES,  produced 
by  the   following   processes : 

PHOTO-GRAVURE,  —  The  process  of  Mr.  Ignatz 
Oesterreicher. 

GELATINE  PRINTING,  —  Heliotype,  Autoglyph, 
Indo-Tint. 

PHOTO-LITHOGRAPHY,  —  Osborne's  process. 

PHOTO-LITHOGRAPHY  IN  HALF  TONE,  — 
Mr.  Edwards'  process,  Dased  on  Meisenbach's 
method. 

PHOTO-ENGRAVING,  —  Swelled   gelatine   process. 

PHOTO-ENGRAVING  IN  HALF  TONE,  —  Mei- 
senbach's process  as  worked  by  Mr.  Edwards. 


82  THE    PHILADELPHIA    PHOTOGEAPHEE. 

-HlcCINCINNATI   NEW   STOCK   DEPOT.$<- 


BLAIR  &  PRINCE, 

Importers  of  and  Dealers  in 

FIOTO.  APPARATUS  AND  MATERIALS, 

No.  148  West  Fourth  Street, 

CINCINNATI,  OHIO. 


Our  stock  is  fresh  from  the  best  factories,  bought  at  the  lowest 
cash  figures.  The  leading  brands  of  Plates,  Chemicals,  Albumen 
Papers,  and  everything  in  use  by  professional  and  amateur 
photographers  in  stock. 

OHIO  AGENTS  FOR 

BLAIR  APPARATUS  AND  MARSHALL  &  BLAIR'S  DRY  PLATES. 

WILLIAM  T.  GREGG, 

3X8  Broad-way,  3>3\  TT-, 

MAUUFACTUEEB  OF  THE 

PHOTO-OPTICON. 

For  Oil  or  Gas,  Singly  or  in  pairs  for  Dissolving  Effects. 

The  most  brilliant  picture,  largest  screen,  and  most  compact  Lantern  in  the 
world.  The  best  instrument  at  a  fair  price.  My  lists  of  Views  are  the  largest 
in  the  United  States. 

Photographic  Cameras,  Lenses,  Shutters,  Dry  Plates,  Supplies,  etc. 


NEW  YORK  WAREHOUSE  OF  THE 

BLAIR  TOUROGRAPH  and  DRY-PLATE  CO.,  of  Boston, 

American  and  Foreign  Photographs  of  Places f  Persons,  Paintings, 
and  Sculpture,  mounted  and  unmounted. 


INSPECTION  AND  CORRESPONDENCE  SOLICITED. 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


83 


KEEVIL'S   PATENT 

NEWTONIAN   DUPLEX  LANTERN. 

This  new  lantern  is  duplex  in  form,  being  fitted  with  one  optical  system,  projecting  in  front,  and 
another  projecting  from  one  side.  The  light  through  the  first  system  is  transmitted  on  to  the  screen 
directly,  in  the  usual  way.  At  the  extremity  of  the  other  system,  is  fixed  a  prismatic  lens^by  which 
~neans  a  disk  can  be  projected  on  to  the  screen  central  with  the  other.  The  oxyhydrogen  jet  is  ar- 
ranged on  a  pivot,  which  is  a  fixture  in  the  bottom  of  the  lantern,  the  centre  of  rotation  being  as 
near  the  outside  surface  of  the  lime  cylinder  as  possible;  and  by  rotating  the  burner  through  about  a 
quarter  of  a  circle,  the  light  is  brought  central  with  each  condenser  alternately,  and  simultaneously 
the  mechanical  dissolver  opens  and  closes  the  objectives. 

A  Complete  Lime-Light  Dissolving  Apparatus,  most  Compact 

in  Form,  at  the  Low  Price  of  $100.00;  with  Pull 

Oxyhydrogen  Accoutrements,  $130.00. 


<u  *  <u  X  i>  — 

.-I  IN  -*  i-l  y-l  tH 


To  compensate  for  any  loss  of  light  occasioned  by  the  use  of  the  prism,  the  condenser  of  this  system 
is  made  somewhat  shorter  in  focus  than  the  other  one,  evenness  of  illumination  being  thereby  secured. 
Both  objectives  are  made  achromatic,  and  the  definition  of  the  one  to  which  the  prism  is  attached  is 
in  no  way  inferior  to  the  ordinary  one.  The  jets  never  require  adjustment,  as  every  lantern  is  put  to 
a  practical  test  before  being  sent  out;  the  best  position  for  the  jet  being  thereby  obtained,  further  ad- 
justment becomes  unnecessary,  The  dissolving  apparatus  is  adjustable  and  very  efficient.  The  conical 
fronts  are  easily  detached,  and  if  required  it  can  be  used  as  a  single  lantern.  The  rohole  lantern  is  of 
metal.  Its  small  dimension  are  much  in  its  favor,  the  whole  packing  into  a  small  box,  easily  carried 
in  the  hand.  These  desiderata  are  certain  to  make  it  a  favorite  with  those  who  wish  for  an  apparatus 
of  extreme  portability.     See  further  in  our  new  catalogue. 

We  have  arranged  for  the  sole  agency  of  the  United  States,  and  have  a  stock  on  hand  and  for  sale. 
We  have  thoroughly  tried  the  new  lantern,  and  are  charmed  -with  it  in  every  way.  It  is  lighted  in  a 
minute,  easily  adjusted,  and  gives  entire  satisfaction. 

SEVERAL  RECENT  IMPROVEMENTS. 
SEOUEED  BY  LETTEES-PATENT  IN  ENGLAND  AND  THE  UNITED  STATES. 

It  is  made  to  sit  on  any  table  or  stand,  and  full  directions  for  working  accompany  it.     Send  for  estimate  for  a  full 
outfit,  bags,  tubing,  generator ,  &"c  drc.     Lists  of  our  new  dissolving  views  will  be  given  on  application. 


EDWARD   L.  WILSON, 


Sole  Agent  foi  the  United  States. 


1125  Chestnut  St.,  Philadelphia. 


84 


THE   PHILADELPHIA   PHOTOG  EAPHEE. 


WILSON'S  LANPRN  JOURNEYS 

These  descriptions  should  be  in  the  hands  of  every  Lantern  Exhibitor  and  Lecturer.  They 
help  you  choose  slides.  They  tell  you  what  facts  and  figures  the  public  want  to  know  about  the 
places  and  things  you  exhibit.  The  contents  are  divided  into  JOURNEYS  or  selections  as  per 
list  below : 


DESCRIBES 

SLIDES 

ALL  OVER 

THE  WORLD. 


3  VOLUMES. 


VOLUME  I.  306  PAGES, 

Contains  NINE  Journeys: 

A — France  and  Switzerland. 

B — Belgium,      Germany,     Austria, 

Saxony,  and  Bavaria. 
O — Italy — Lakes,    Cities,    and    the 

Italian  Art  Galleries. 
D — Holland,      Denmark,     Norway, 

Sweden,  Russia,  and  Spain. 
B — Egypt,  Palestine,  Syria,  Turkey, 

Greece,  and  India. 
F — England,  Scotland,  and  United 

States  of  America. 
G — Centennial  Exhibition,  Philada. 
H — Centennial  Exhibition,  Philada. 
I— The  Paris  Exposition,  1878. 

IN  ALL,  O  VEB  900  SUBJECTS. 

PRICE  $2,  POST-PAID. 


DESCRIBES 

SLIDES 

ALL  OVER 

THE  WORLD 


3  VOLUMES. 


VOLUME  E.  331  PAGES, 

Contains  TWELVE  Journeys: 

J — Germany  and  Russia. 

K — Belgium  and  Austria. 

L — France — Cities  and  Provinces. 

M— Spain  and  Portugal. 

N — Switzerland— The   Four  Alpine 

Routes. 
O — Italy,  Ischia,  and  Sicily. 
P — Turkey,  Greece,  and  Egypt. 
Q — Palestine  and  India. 
R — Scotland — Cities  and  Ruins. 
S — Ireland. 
T — England — Cities,  Museums,  and 

Ruins. 
U — United  States  of  America. 

IN  ALL,   1073  SUBJECTS. 

PRICE  $2,  POST-PAID. 


J8@rVOLUME  III— ON  THE  ORIENT— NOW  READY.=®g 
PRICE  $2,  POST-PAID. 

Gives  descriptions  of  all  the  slides  made  by  Mr.  Edward  Ij.  Wilson  of  his  personally 

taken  views  of  The  Sinai  Peninsula ;  The  Desert  of  the  Exodus ;   The 

Route  of  the  Israelites  to  the  Promised  Land;  and 

THE  TAKING  OF  PETRA. 

NEW    LECTURES    IN    PRESS. 


by  Loafers.  EDWARD  L.  WILSON,  Photo.  Publisher,  Philadelphia,  Pa. 


SEND  FIFTEEN  CENTS  FOR  NEW  CATALOGUE. 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


85 


ALL  ONE  PRICE ! 


EASTMAN'S 

RAPID,  INSTANTANEOUS, 

TROPICAL,  and  SPECIAL 

(jElatino-Bromide  Dry  Plates 

Have  all  been  REDUCED  to  one  Uniform  Price, 


AS  FOLLOWS 


Size,  3%  x4X, 
"4      x5, 
"    4Xx5X, 
"    4Xx6X, 
"5     x7, 
"5      x  8, 

"  6^  x  sy2, 

"     8      x  10, 


Per  doz.,  $0  60 

90 

1  00 

1  20 

"  1  55 

1  75 

"  2  30 

3  40 


Size,  lO  x  12, 
11  x  14, 
14x  17, 
16  x  20, 

"  17  x  20, 
18x22, 

"     20  x  24, 


Per  doz.,  $5  00 

6  50 

10  00 

16  00 

17  00 
20  00 
24  00 


Discount  as  follows :  Orders  amounting  to  $50,  5  per  cent.;  over  $50, 
and  under  $100,  10  per  cent.;  over  $100,  and  under  $200,  15 per  cent. 


BEAR  IN  MIND  THAT 


THE  TROPICALS 


Are  the  ONLY  ONES  that  can  be 
used  in  HOT  WEATHER  without 
ICE  or  ALUM. 


ALSO,  THAT 


mTT  171       Ci  Tfc  Tl  n  T  A  T    C\  (     Are  the  MOST  SENSITIVE,  MOST 

1 H  h  S  r  J!i  (j  1 AL  IS  ??i?it"  a£EANEST  DRY 


PLATES  ever  made. 

A  Distinguished  Painter  -who  has  taken  up  Amateur  Photography  says 
the  "Specials"  are  quicker  than  chain  lightning. 


-r- — FOR  SALE  BY  ALL  DEALERS — -*- 

SOLE  WHOLESALE  AGENT, 

E.  &  H.  T.  ANTHONY  &  CO., 

591  BROADWAY,  NEW  YORK. 


86  THE   PHILADELPHIA   PHOTOGEAPHEE. 


The  Following  is  of  Interest  to  Every  Photographer. 


THE  NEW  N.  P.  A. 

PENSE. 

We  desire  to  call  attention  to  our  NEW  PENSE  N.  P.  A.  Extra  Brilliant 
Dresden  Albumen  Paper. 

The  manufacturers  at  Rives  have  recently  many  marked  improvement  in  their 
celebrated  paper,  and  all  the  sheets  of  this  brand  are  manufactured  specially  for 
it,  and  are  readily  distinguished  from  all  other  papers  by  the  water-mark  N.  P.  A. 

It  is  doubly  albumenized  by  the  most  experienced  house  in  Germany,  with 
new  and  improved  formulas,  and  we  are  confident  that  on  trial  it  will  be  found 
superior  to  any  other  in  market. 

Its .  excellence  has  induced  some  unscrupulous  persons  to  place  the 
STAMP  on  the  Paper  of  other  makers,  in  order  to  work  it  off,  trusting  that 
photographers  will  not  look  through  to  see  if  the  water-mark  is  there.  To 
prevent  this  we  have  registered  Jg^^This  Trade  Mark°®a  in  Washington,  which  will 
subject  to  heavy  damages  all  ^<^k-  ^/j  those  who  stamp  this  brand 
on  paper  which  does  not  bear  ^  N.P.A.  **  the  water-mark  N.  P.  A. 
This  Paper  can  be  had  also  in        DRESDEN.        PINK,  PEARL  or  WHITE. 

FOR  SALE  BY  ALL  DEALERS  IN  PHOTO.  GOODS  IN  U.  S.  AND  CANADA. 


E.  &  H.  T.  ANTHONY  &  CO., 

591  Broadway,  NEW  YORK. 

N.  B. — When  any  paper  is  offered  to  you  at  a  low  price,  Measure  it. 

Also  note  whether  it  runs  Uniform,  for  some  albumenizers  mix  the  firs:  and 
second  qualities,  not  discarding  that  which  has  defects,  and  thus  get  their  paper 
cheaper. 


-THEJ- 


HELIOTYPE  PRINTING  COMPANY 

Desire  to  draw  the  attention  of  Photographers  and  Printers  to  their  unequalled 
facilities  for  the  production  of  all  classes  of  photo-mechanical  printing  or  print- 
ing plates.  They  have  recently  introduced  improvements  by  which,  they  are 
able  to  produce  better  work  at  lower  prices,  WITH  A  LIBERAL  DISCOUNT  TO 
PHOTOGRAPHERS  AND  PRINTERS.  They  especially  draw  attention  to  their  new 
P'iX0I0-rC&llSti,C  methods  by  which  the  photographic  effect  is  produced 
either  on  lithographic  stones  or  in  the  shape  of  cuts  to  print  with  type. 

Samples  and  prices  of  any  desired  class  of  work  forwarded  on  application. 

Specimen  books  on  receipt  of  25  cents. 


Our  processes  are  divided   into 

IPctfttf^lptectamtal  ^xintiriQ.    (pure  heliotype   and 

AUTOGLYPH.)  —  For    the    reproduction,     in     printer's   ink,  on    the  printing  press, 
of  Portraits  and  Views  from   Nature,   and   all  descriptions  of    PHOTOGRAPHIC  work. 

^h&tO*%XfkttQK%p\l%.—  For  the  reproduction  of  Artists',  Architects', 
Engineers',  Surveyors',  and   other  Drawings,  and  other  originals  in   black  and  white. 

gfotftXr   gt!0VamiX0  and  MUC    glcMttg For  the    production 

of  Cuts  to  print  with  type,   from  originals   in   black  and  white. 

^hotO^itXXBtXC  grmtitt0.— For  the  lithographic  reproduction  of 
photographic  subjects,   without  redrawing, 

gltCrtCr*©<ntSttC  %U%XKm\\Q.—  For  the  production  of  Cuts  to 
print  with  type,  from  photographs,  brush  drawings,  and  all  subjects  in  half  tone 
or  shading,  without  redrawing  in  line. 


^Uxomo^itUoQXupUxi. r 

^XXtCt  QXU\%$f&X.—  A  patented  process  for  the  speedy  reproduction 
(from  originals  made  with  ordinary  ink  on  ordinary  paper)  of  autograph  letters, 
sketches,  caricatures,  etc.,   either  as  cuts  or  lithographs. 

■Q&SXQXlitlQ.— Artistic  designing  of  all   kinds. 


Employed  by  the  United  States  Government  in  illustrating  Scientific  and  Medical  Reports; 
by  Scientific,  Historical  and  other  learned  Societies;  by  the  leading  publishers,  and  for  illustrat- 
ing Town  and   Family  Histories,  Trade  Catalogues,  Show  Cards,  etc. 

Fac-similes  of  Medals  and  Coins,  Ancient  Manuscripts,  Paintings,  Drawings,  Sketches  and 
Autograph  Circulars,  Views  and  Portraits  from  Nature,  Medical  and  Scientific  Objects,  Antiquities, 
etc.,  etc. 

Special  attention  paid  to  the  reproduction  of  Architects',  Engineers'  and  Surveyors' 
Drawings. 


Our  establishment  is  fitted  to  produce  photo-mechanical  and  lithographic 
work,  of  all  kinds,  by  the  best  available  methods,  and  we  shall  be  pleased 
at  all  times  to  advise  on  any  work  that  may  be  required. 


THE   HELIOTYPE   PRINTING  CO., 

211  TREMONT  STREET,   BOSTON,   MASS. 

NEW  YORK  OFFICE,       .       .      .       658  BROADWAY. 
WASHINGTON  OFFICE,       .      .       29  CORCORAN  BUILDING. 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


The  Blair  Tomograph  and  Dry  Plate  Co. 


MANUFACTURERS  OF 


PHOTOGRAPHIC  APPARATUS. 


^f^l 


Their  Cameras  are  Original  in  Design,  and  are  Warranted  to  be  Equal  to  the 

Best  in  the  Market,  and  are  now  too  well  known 

to  need  new  mention. 


Blair's  Eeversible  Back  Combination 
Camera.  Open  for  use  and  folded  for 
carrying. 


THEIR  COMBINATION  PORTRAIT  CAMERA, 

"WITH  FLEXIBLE  SLIDE-HOLDER, 

Was  the  Admiration  of  all  the  Visitors  at  the  late  Convention. 


ASK   TO    SEE    IT. 


Do  not  get   a   New  Camera,  but   have  our  Patent   Extension 

put  on  your  old  ones. 

Descriptive  Circulars  will  soon  le  out.  apply  for  them  at  your  dealers. 


OFFICE  AND  FACTORY, 

471,  475  &  477  TREMONT  ST., 

BQSTOUNT,    MASS. 


THE  PHILADELPHIA  PHOTOGRAPHER      89 

Benj.  French  &  Co. 

No.  319  WASHINGTON  STREET,  BOSTON, 

Sole  Agents  in  the  United  States  for  the  Celebrated  Lenses 
Manufactured  by 

VOIGTLANDER  &  SON. 


ALSO,  THEIR  FAMOUS 


Which  is  unrivalled   for  groups,  full-length   figures,  and  other  demands  in  the 
gallery,  and  every  species  of  out-door  work,  including  instantaneous  photography. 

js^"  THE  EURYSCOPE  is  made  exclusively  by  Voigtlander  &  Son,  and  their 
name  is  engraved  on  the  tube. 


PORTRAITS.    HARLOT     LENSES    VIEWS. 


IMPORTERS,  ALSO,  OF  THE  CELEBRATED 

TRAPP  &  MUNCH 

ALBUMEN    PAPER, 

AND  DEALERS  IN  ALL  KINDS  OF 

Photographic  Materials  and  Magic  Lantern  Slides. 

SEND  FOR  OUR  NEW  ILLUSTRATED  PRICE  LIST  OF  LENSES. 


90 


THE  PHILADELPHIA  PHOTOGEAPHER 


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THE  PHILADELPHIA  PHOTOGRAPHER      91 

A  GLOW  of  PHOTOGRAPHIC  PUBLICATIONS 


The  amateur  and  his  old  friend,  the  daily  worker,  are  well  taken  care  of  in  the 
literature  line,  and  we  ask  their  attention  to  the  following  list,  which  includes 
about  everything  there  is  need  for.  There  is,  in  fact,  a  treatise  on  every  branch 
of  photography. 

The  Philadelphia  Photographer.  A  monthly  magazine,  illustrated  by  photographs  of 
superior  merit.  #5  a  year;  $2.50  for  six  months. — Stands  ahead  of  all  its  kindred.  Eighteen 
years  of  success  is  a  sufficient  guarantee  of  its  value  and  use  to  the  practical,  working,  growing 
photographer.     Do  not  go  without  its  valuable  help. 

The  Ferrotyper's  Gruide.  Price,  75  cents. — Cheap  and  complete.  For  the  ferrotyper 
this  is  the  only  standard  work.     Seventh  thousand. 

Pictorial  Effect  in  Photography.  By  H.  P.  Robinson.  Cloth,  $1.50;  paper  cover, 
$l. — For  the  art  photographer. 

"Wilson's  Photographies.  The  newest  and  most  complete  photographic  lesson-book. 
Covers  every  department.     352  pages.     Finely  illustrated.     Only  $4.     By  Edward  L.  Wilson. 

"Wilson's  Lantern  Journeys.  By  Edward  L.  Wilson.  In  three  volumes.  Price,  $2  per 
volume. — For  the  lantern  exhibitor.  Gives  incidents  and  facts  in  entertaining  style  of  about  2,000 
places  and  things,  including  200  of  the  Centennial  Exhibition. 

Bigelow's  Artistic  Photography.  Price  reduced  to  $4. — For  the  lover  of  art.  Beats 
his  "Album  of  Lighting  and  Posing."     Superb  !     With  twelve  photographs  and  instructions. 

Studies  in  Artistic  Printing.  By  C.  W.  Hearn.  Price,  $3.50. — Embellished  with  six 
fine  cabinet  and  promenade  portrait  studies. 

The  Photographic  Oolorists'  Guide.  By  John  L.  Gihon.  Cloth,  $1.50. — The  newest 
and  best  work  on  painting  photographs. 

Photographic  Mosaics,  1884.  A  year-book.  Cloth  bound,  $1 ;  paper  cover  50  cents. 
Better  than  any  of  its  predecessors. — Back  volumes,  same  price. 

The  Photographic  Amateur.  By  J.  Traill  Taylor.  A  guide  to  the  young  photogra- 
pher, either  professional  or  amateur.     Price,  50  cents. 

The  Art  and  Practice  of  Silver-Printing.  By  H.  P.  Robinson  and  Capt.  Abney, 
R.E..F.R.S.     Price,  50  cents.     Illuminated  cover.     Cloth  bound,  75  cents. 

How  to  Make  Pictures.  (Second  edition  of  5,000  copies.)  The  ABC  of  Dry-plate  pho- 
tography.    By  Henry  Clay  Price.     Price,  illuminated  cover,  50  cents;  cloth,  75  cents. 

Photography  with  Emulsion.  By  Capt.  W.  De  W.  Abney,  R.E.,  F.R.S.  Price,  $1 
per  copy. 

Twelve  Elementary  Lessons  in  Dry-plate  Photography.  Price,  25  cents  per 
copy.  . 

The  Modern  Practice  of  Retouching.    Price,  50  cents  per  copy. 

The  Spanish  edition  of  How  to  Make  Pictures.  Ligeras  Lecciones  sobre  Fotografia 
Dedicados  a  Los  Aficionados.     Price,  $1  per  copy. 

The  Progress  of  Photography  Since  1 879.  By  Dr.  H.  W.  Vogel.  A  splendid  helper 
to  all  workers.     Price,  $3. 

Picture  Making.     By  H.  P.  Robinson.     Cloth,  $1.     Paper,  50  cents. 

All  orders  for  above  will  be  filled,  free  by  post,  on  receipt  of  price  at  the 
office  of  this  magazine. 

EDWARD  L.  WILSON,  Photo.  Publisher,  1125  Chestnut  St.,  Phila. 


92       THE  PHILADELPHIA  PHOTOGEAPHER. 


JAMES   INGLIS, 


MANUFACTURER  OF  THE 


Inglis  Dry  Plates, 

ROCHESTER,  N.  Y. 


INGLIS'  NEW  DRY  PLATE. 

E.  L.  Wilson  says  they  are  too  quick  for  him  in  New  Orleans, 
but  adds,  the  quality  is  all  right.     Send  us  slower  ones. 

Negatives  made  in  one  or  ten  seconds,  both  equally  good. 
We  saw  this  done,  and  so  exactly  alike  were  the  two  negatives 
they  could  not  be  told  apart.  Both  taken  on  one  plate  then  cut 
in  two.  Fred.  Robinson,  Trumansburg. 

Hale,  Seneca  Falls. 

For  Transparencies  they  are  not  excelled.  How  to  develop 
for  positives.  For  quick  or  slow  exposures.  For  hard  or  soft 
negatives,  find  in  our  directions,  which  will  enable  the  youngest 
amateur  to  work  successfully.     Will  send  them  by  mail  on  request. 


THERE  IS  NO  FEAR  OP  FRILLING. 


SCOVILL  MANUFACTURING  CO.,  AGENTS. 

And  For  Sale  by  most  of  the  Dealers. 


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Manufactured  only  by 

Alfred  L.  Hance, 

PHILADELPHIA. 


lit! 

$  &  ST.  & 


Scovill  Manufacturing  Company,  Trade  Agents. 
FOR  SALE  BY  ALL  DEALERS. 


94  THE    PHILADELPHIA    PHOTOGKAPHEK. 

@ THK y 


PROGRESS  OF  PHOTOGRAPHY 

FROM     1879    TO     1884. 
By  DR.  H.  W  VOGEL, 

Professor  and  Teacher  of  Photography  and  Spectrum  Analysis  at  the  Imperial 

Technical  High  School. 


NOW    !FL  !E3  .A.  33  Y. 

A  Review  of  the   more   Important   Discoveries   in 

Photography  and  Photographic  Chemistry 

within  the  Last  Four  Years. 

READ    WHAT    HE    SAYS    ON 

EMULSION   PHOTOGRAPHY, 

AND 

THE  CHAPTER  ON  PHOTOGRAPHY  FOR  AMATEURS. 

INTENDED  ALSO  AS  A  SUPPLEMENT  TO  THE  THIRD  EDITION 
OF  THE  HANDBOOK  OF  PHOTOGRAPHY. 

Revised  by  EDWARD  L.  WILSON,  Editor  Philadelphia  Photographer. 
Translated  from  the  German  by  ELLEESLIE  WALLACE,  Jr.,  M.D. 


$3.00.  347    PAGES.  $3.00. 

With  Seventy-two  Illustrations,  and  an  admirable  portrait  taken  with 
Electric  Light,  by  W.  ELurtz,  New  York. 

(SEE  OPPOSITE  PAGE.) 


THE  PHILADELPHIA  PHOTOGRAPHED. 


95 


VOGEL'S 


Progress  in  Photography. 


CONTENTS: 


CHAPTER  I. 
PHYSICAL  EFFECTS  OF  LIGHT. 

CHAPTER  II. 
CHEMICAL  EFFECTS  OF  LIGHT. 

A.  Effects  of  Light  upon  Metalloids  and  their 

Compounds. 

B.  Effects    of  Light  upon   Metals  and   their 

Compounds. 
The  Double  Salts  of  Iron  and  Oxalic  Acid. 
The  Iron  Lichtpaus  Process. 
Actinium,  a  new  Metal. 
Salts  of  Copper. 
Salts  of  Chromic  Acid. 
Combinations  of  Mercury. 
Platinum  Printing. 
The  Salts  of  Silver. 

The  Various  Modifications  of  Bromide  of 
Silver  and  the  Chemical  Principles  of  the 
Emulsion  Process. 
Photo-chemistry  of  Chloride  of  Silver. 
Rare  Salts  of  Silver. 

CHAPTER  III. 

PHOTOGRAPHIC  CHEMISTRY. 

Different  Forms  of  Pyroxyline, 
Concerning  the  Characteristics  of  Gelatine. 

CHAPTER  IV. 
PHOTOGRAPHIC  OPTICS. 

Tew  Objectives. 
Artificial  Light  and  its  Application  to  Pho- 
tography. 
Chemical  Photometers. 

CHAPTER  V. 
PHOTOGRAPHIC  APPARATUS. 

Cameras,  Changing-boxes,  and  Tripods. 
Instantaneous  Shutters. 


CHAPTER  VI. 

THE  NEW  PHOTOGRAPHIC 
PROCESSES. 

A.  New  Negative  Processes  (Dry  Processes). 
Pi  epa  ration  of  Gelatine  Emulsion. 

a.  The  Author's  Method. 

b.  Eder's  Method  with  Ammonio-nitrate 

of  Silver. 

c.  Eder's  Combination  Method  with  the 

Author's  Modification. 

d.  Eder's  New   Method  with   Carbonate 

of  Ammonia. 

e.  Precipitation  Methods. 

f.  Vogel's  Emulsion. 

B.  The  Manipulation  of  the  Gelatine  Plates, 
i.  Gelatine  Plates. 

a.  The  Exposure. 

b.  The  Development. 

c.  The  Fixing. 

d.  The  Intensifying. 

e.  The  Drying  and  Finishing. 

2.  Vogel's  Emulsion  Plates. 

3.  Failures  in  Gelatine  Plates. 

4.  Notes  on  the  Gelatine  Process. 

C.  New  Positive  Processes. 

1.  The  Platinum  Processes  (Platinotype). 

2.  New  Silver  Printing  Processes. 

3.  New  Enlargement  Processes  and  Appa- 

ratus. 

4.  New  Permanent  Printing  Processes. 

CHAPTER  VII. 

PHOTOGRAPHIC  ESTHETICS  AND 
PORTRAIT  TECHNIQUE. 

CHAPTER  VIII. 
PHOTOGRAPHY  FOR  AMATEURS. 


$3.00 PRICE $3.00 


MAILED  OW  RECEIPT  OF  PRICE,  BY 

EDWARD  L.  WILSON,  1125  Chestnut  St.,  Philadelphia. 


96 


THE  PHILADELPHIA  PHOTOGRAPHER. 


DEALERS'  DIRECTORY. 


The  following  houses  are  to  be  recommended  as 

the  best  for  photographers  in  their  localities. 
+ M 


S.  T.  BLESSING, 

New  Orleans, 

La. 


THE 

BEST  BOOK 

IS 


SMITH  &  PATTISON, 

83  &  85  Wabash  Ave. 
Chicago. 


H.  A.  HYATT, 

Mound  City  Photo,  Stock  House, 

8th  and  Locust  Sts., 

St.  Louis,  Mo. 


WILSON'S 

PHOTOGRAPHICS, 

$4.00. 


D.J.RYAN, 

Savannah, 

Ga. 


SCOVILL  IANFG  CO, 

423  Broome  St., 
New  York. 


D.  TUCKER  &  CO, 

Buffalo, 

N.  Y. 


BLESSING  &  BBO., 

Galveston, 

Texas. 


C.H.CODMAN&CO. 

Boston,  Mass. 


WILSON,  HOOD  &  CO, 

825  Arch  Street, 
Philadelphia,  Pa. 


B.  FRENCH  &  CO. 

Boston,  Mass. 


BUCHANAN,  SIEDLEY 
&  BROMLEY, 

25  N.  Seventh  St., 

Philadelphia. 


EDWARD  L.  WILSON, 

Photo.    Publisher, 

LANTERN  SLIDES, 

1 1 25  Chestnut  St., 

Philadelphia. 


MULLETT  BROS, 

Kansas  City, 
Mo. 


OSCAR  FOSS, 

San  Francisco, 
Cal. 


E.&H.T.AMTHONY&CO. 

591  Broadway, 

New  York. 


SHEEN  &  SIMPKINSON, 

Cincinnati, 

Ohio. 


PACIFIC   COAST   AMATEUR   CLUB, 


SAN    FRANCISCO,   CAL. 


PASSAVANT    DRY    PLATES. 


THE 


EDITED    BY    EDWARD    L.    WILSON. 


Vol.  XXII. 


APRIL,   1885. 


No.  256. 


PHOTOGRAPHY  AT  THE  NEW 
ORLEANS  EXPOSITION. 

Since  our  last  letter,  considerable  progress 
has  been  made  towards  beautifying  the  pho- 
tographic exhibit,  and  yet,  with  all  the 
effort  that  has  been  expended,  comparatively 
speaking,  it  is  a  failure.  Some  of  the  reasons 
for  this  we  have  already  stated.  The  first 
and  principal  one  is  the  lack  of  interest  on 
the  part  of  the  photographers  themselves. 
The  second,  the  failure  on  the  part  of  those 
who  applied  for  space,  to  send  their  exhibits. 
Third,  the  failure  of  those  who  did  send 
exhibits  to  direct  them  as  they  were  in- 
structed. Fourth,  the  fact  that  many  pho- 
tographers preferred  to  exhibit  with  their 
State  departments  rather  than  in  the  pho- 
tographers' department  proper  ;  and  finally, 
the  exhibit  is  a  failure  comparatively  speak- 
ing, because  of  the  failure  of  the  manage- 
ment to  give  photography  the  consideration 
it  should  have  had.  But  there  is  still  a 
prospect  of  the  photographic  exhibit  be- 
coming even  more  attractive  than  it  is  now. 

Several  of  the  pictures  still  remain,  or 
are  supposed  to  remain,  in  what  the  man- 
agement dub  the  "  calaboose."  There  goods 
improperly  directed  are  stored.  Some  time 
between  now  and  the  millenium  they  will 
be  opened,  their  contents  revealed,  and  per- 
haps part  placed  in  the  photographic  de- 
partment. The  ill-fated  boxes  which  are 
now  supposed  to  be  in  this  purgatorium,  are 
those  which  have  been  improperly  directed 


by  the  senders,  and  there  is  no  hope  for  them 
until  the}7  are  officially  released.  To  try  to 
find  them  without  any  knowledge  whatever 
of  their  marks,  is  impossible  for  even  the 
superintendent  of  the  photographic  depart- 
ment of  a  world's  exposition.  They  will 
some  day  be  revealed,  and  their  senders 
learn  by  this  slow  experience  to  direct  their 
goods  properly.  Other  cases  were  directed 
to  the  "Art  Department,"  arid  in  turn  were 
captured  by  the  officials  having  the  work  of 
the  brush  and  crayon  in  charge,  and  stored 
in  the  city  of  New  Orleans  two  months, 
until  the  Art  Hall  was  ready  to  receive 
pictures.  When  that  time  came,  these 
boxes  being  opened  and  found  to  contain 
photographs,  were  sent,  after  the  processes 
of  red  tape  had  been  endured,  to  the  photo- 
graphic section,  over  a  quarter  of  a  mile 
distance.  There  the  photographs  were  prop- 
erly hung. 

The  fact  that  the  photographic  depart- 
ment is  not  yet  ready,  makes  us  hesitate  for 
one  month  more  before  giving  a  list  of  the 
exhibitors ;  we,  therefore  allude  only  to  a 
few  of  them. 

One  of  the  most  promising  exhibits  is  that 
of  Mr.  F.  Gutekunst,  of  Philadelphia,  which 
not  only  embodies  a  very  fine  variety  of  por- 
traits of  various  sizes,  but  also  a  splendid 
collection  of  phototypes,  together  with  his 
famous  picture  of  the  1876  Exhibition,  and 
some  reproductions  of  Darley's  illustrations 
of  Dickens.  There  is  no  photo-mechanical 
work  here  that  approaches  in  quality  that 


98 


THE    PHILADELPHIA    PHOTOGRAPHER. 


of  Mr.  Gutekunst.  His  work  is  too  well 
known  for  us  to  praise  it,  and  his  display 
does  him  the  greatest  credit. 

The  next  largest  exhibit  probably  is  that 
of  Mr.  F.  W.  Guerin,  of  St.  Louis.  In 
variety  and  subject  it  resembles  very  much 
the  exhibit  made  by  tbis  gentleman  at  the 
Cincinnati  Convention,  a  tew  additions  only 
having  been  made,  therefore  many  of  our 
readers  are  familiar  with  it.  When  we 
make  our  complete  list,  if  we  are  ever  per- 
mitted to  do  so,  we  shall  refer  to  both  of 
these  exhibits  again. 

One  of  the  finest  displays  of  landscape 
work  made  is  Mr.  G.  F.  Mugnier's,  of  this 
city.  Mr.  Mugnier  claims  to  be  "only  an 
amateur  photographer,"  spending  only  a 
part  of  the  day  in  the  practice  of  our  art, 
being  employed  the  balance  of  the  time  at 
the  United  States  Mint.  He  has,  however, 
collected  a  variety  of  pictures  of  New  Or- 
leans and  the  surrounding  country,  which 
is  unique  in  its  way,  and  better  illustrates 
the  Sunny  South  than  any  collection  we 
have  ever  seen — the  quality  of  the  work  is 
also  excellent.  The  product  of  Mr.  Mun- 
gier's  negatives  is  being  sold  at  the  various 
photographic  stations  throughout  the  Expo- 
sition and  meets  a  ready  demand. 

Mr.  C.  W.  Motes,  of  Atlanta,  Ga.,  also 
makes  a  display  similar  to  that  which  many 
of  us  beheld  at  Cincinnati,  and  which  is 
very  creditable  to  himself.  His  "sculpture" 
photography  is  particularly  pleasing  and 
attractive,  and  includes  some  very  nice  selec- 
tions, some  of  which  are  new. 

Mr.  A.  L.  Blanks,  of  Vicksburg,  Miss., 
also  makes  a  fine  exhibit  of  portraiture, 
with  a  surprisingly  beautiful  selection  of 
outdoor  instantaneous  work.  Not  only  is 
the  execution  fine,  but  the  subjects  are  also 
excellent  in  every  respect. 

The  only  city  photographer  who  has  made 
any  display  as  yet  is  Mr.  Theodore  Lilien- 
thal,  whose  variety  consists  not  only  of 
plain  work,  but  of  brush  work  of  excellent 
quality. 

The  visitor  is  attracted  by  the  display  of 
Bolar  enlargements  from  Mr.  E.  Long,  of 
Quincy,  111.  They  hang  near  the  side  of 
the  great  organ,  and  do  Mr.  Long  full 
credit. 

Mr.   T.   H.    McCollin,   of    Philadelphia, 


covers  more  space  perhaps  than  any  one  in 
the  department,  with  his  splendid  variety  of 
solar  enlargements  and  blue  prints.  The 
quality  of  all  these  is  excellent  in  every  re- 
spect, and  commensurate  with  the  quantity 

A  very  excellent  exhibit  was  made  here 
by  the  Air-Brush  Manufacturing  Company, 
of  Kockford,  111  ,  and  was  attended  in  per- 
son by  Mrs.  Walkup,  but  the  lady  became 
discouraged,  and  has  returned  to  her  home, 
leaving  the  exhibit  still  hanging.  Mr.  E. 
K.  Hough  continues  to  demonstrate  the  use 
of  the  air-brush  at  certain  times  of  the  day, 
and  always  attracts  around  him  a  crowd  of 
interested  visitors. 

While  we  consider  the  photographic  de- 
partment properly  located,  still  there  are  so 
many  grander  attractions  here  than  our  art 
is  capable  of  making,  that  we  get  very  little 
attention  from  the  public  except  on  <lfete 
days,"  when  the  galleries  are  crowded,  and 
we  get  a  good  show  of  attention. 

The  case  of  photographs  sent  from  Ger- 
many by  our  good  friend,  Dr.  Vogel,  has 
arrived  since  our  last  letter,  and  includes 
small  selections  from  several  photographers 
in  Berlin  and  other  parts  of  Prussia,  whose 
names  shall  be  given  presently.  A  very 
interesting  collection  is  sent  by  our  inven-. 
tive  friend  himself,  illustrating  the  uses  of 
azaline  collodion.  A  complete  list  of  these 
also  will  be  sent  when  some  more  cases 
which  are  still  held  by  the  United  States 
Custom  House  authorities  are  allowed  their 
release. 

Some  little  fault  has  been  found  by  the 
very  few  exhibitors  who  are  represented 
here,  because  of  the  tardiness  with  which 
the  photographic  department  has  been 
opened.  We  have  given  some  of  the  reasons 
for  this  slowness,  but  above  them  all  there 
was  one  great  reason  which  made  the  open- 
ing of  our  department  slow,  viz.,  the  gen- 
eral tardiness  which  has  characterized  every- 
thing pertaining  to  the  Exposition.  And 
yet,  with  all  this,  the  photographic  depart- 
ment was  opened  to  the  public  in  quite  pre- 
sentable shape  fully  a  month  before  the  super- 
intendent of  the  art  department  was  able  to 
open  the  doors  of  the  art  hall  for  public 
inspection.  We  do  not  feel  called  upon  to 
excuse  anything;  our  work  in  this  matter 
has  been  and  is  entirely  gratuitous.     More 


THE   PHILADELPHIA    PHOTOGEAPHEE. 


99 


than  all  this,  we  have  heen  compelled  to 
involve  ourselves  to  a  considerable  amount 
for  the  purchase  of  material  and  labor  for 
placing  the  exhibit  in  as  good  shape  as  it  is 
in  now.  Any  thinking  person  who  will 
put  this  and  that  together  will  understand 
without  requiring  us  to  go  into  further  de- 
tails. The  Exposition  authorities  found  ex- 
hibitors so  ready  to  take  advantage  of  their 
offer  that  the  great  Exposition  grew  to  much 
larger  proportions  than  the  wildest  dreamer 
could  expect — the  result  was,  more  was  at- 
tempted than  could  be  accomplished  with 
the  money,  and  the  national  treasury  had  to 
be  resorted  to.  As  large  bodies  move  slowly, 
the  Exposition  had  to  suffer,  and  the  tiny 
space  devoted  to  photography  had  to  suffer 
also,  notwithstanding  the  efforts  of  the  few 
photographers  who  are  there  represented, 
and  the  work  of  the  anxious  superintendent, 
who  was  ambitious  to  have  his  department 
not  only  the  most  beautiful,  but  the  most 
promptly  open  to  the  public.  Next  month 
we  hope  to  give  a  full  report  not  only  of 
the  complete  photographic  exhibition,  but  a 
list  of  all  the  photographs  which  are  in- 
cluded within  the  entanglements  of  the 
United  States  and  Government  Buildings, 
together  with  a  synopsis  of  the  appliances 
of  the  art  represented.  Our  opportunities 
for  profitable  experience  here  with  dry  plates 
have  been  considerable.  As  a  grand  out- 
growth of  this  experience  we  are  free  to 
confess  to  many  disappointments.  It  is  al- 
most impossible  to  decide  upon  any  arbi- 
trary rules  for  the  exposure  of  these  plates 
as  to  time,  and  day  by  day  the  way  must  be 
felt  in  the  matter,  as  the  light  varies  as  the 
time  of  day  changes.  But  when  one  once 
knows  the  requirements  of  a  method,  if  one 
is  thoughtful,  those  requirements  can  be  met 
without  much  inconvenience.  In  working 
here,  if  more  than  one  exposure  must  be  made 
in  a  certain  locality,  usually  the  first  one  is 
taken  to  the  developing-room  and  developed 
before  more  are  taken.  This  takes  a  little 
time,  but  it  prevents  a  good  deal  of  unneces- 
sary labor,  and  saves  dry  plates.  Never  in 
all  our  experience  have  we  witnessed  so 
many  beautiful  results  by  photography  as 
we  have  seen  during  our  stay  here ;  every 
lover  of  a  good  negative  will  understand 
this.     It  is  a  portion  of  our  duty  at  the  end 


of  each  day  to  inspect  the  negatives  (the 
work  of  the  good  fellows  who  are  our  co- 
laborers),  to  name  and  to  catalogue,  to 
approve  or  disapprove.  It  will  be  under- 
stood, therefore,  that  we  share  a  great  deal 
of  delight  in  looking  over  so  much  ex- 
cellent photographic  work.  The  negatives 
are  produced  on  plates  of  various  manu- 
facture, and  are  as  satisfactory  as  anything 
our  art  has  ever  been  known  to  produce, 
but  alas  we  meet  with  frequent  disappoint- 
ment when  looking  at  the  prints  from  these 
excellent  results.  We  have  not  yet  con- 
cluded why  these  disappointments  are  so 
apt  to  occur,  nor  have  we  allowed  ourselves 
to  feel  satisfied  that  they  are  necessary,  but 
that  they  do  occur  is  certain.  A  great 
source  of  disappointment  is  in  the  fact  that 
every  negative  whose  exquisite  half  ton** 
and  splendid  detail  in  the  shadows  attracted 
our  admiration  the  night  before,  the  next 
day  will  produce  prints  that  are  hard  in 
contrast,  and  without  those  delicate  render- 
ings which  are  seen  in  the  plates  themselves. 
This  disappointment  we  feel  sure  is  due 
largely  to  the  printer,  for  the  old  wet-plate 
printer  forgets  that  the  good  results  obtaina- 
ble from  a  dry  plate  are  harder  to  get  than 
those  obtained  from  the  wet.  They  can  be 
just  as  excellent  if  care  be  taken  in  the 
printing.  "We  have  not  sufficiently  pur- 
sued our  observations  to  be  able  to  say 
whether  or  not  slower  printing  will  be  better 
for  dry  plates.  Our  present  opinion,  how- 
ever, is  that  dry  plates  ought  to  be  printed 
more  slowly  than  wet  plates,  in  a  diffused 
light,  and  with  more  care,  in  order  to  get 
out  the  full  value  of  the  negative.  This  is 
a  subject  that  must  have  the  consideration 
of  all  wise  photographers,  and  we  should 
feel  personally  pleased  if  those  who  have 
observed  and  have  come  to  any  conclusion, 
will  give  us  the  benefit  of  their  experience 
through  these  pages.  We  still  find  among 
the  many  photographers  who  visit  us  from 
time  to  time,  some  who  are  still  on  the 
fence  as  to  whether  they  "  like  dry  plates 
better  than  the  wet  ones."  In  our  mind 
there  is  no  question  as  to  which  is  best  for 
us  to  work  in  our  present  labors.  Certainly 
many  of  the  results  we  get  would  not  be 
possible  with  wet  plates,  no  matter  how 
much  of  cumbersome  apparatus  is  used,  or 


100 


THE    PHILADELPHIA    PHOTOGEAPflEE. 


how  much  talent  is  displayed.  As  a  rule, 
we  believe  that  softer  results  can  be  obtained 
from  dry  plates,  and,  to  our  taste,  better  ones. 
There  is  just  as  much  difference  between  the 
slow-printed  photograph  from  a  dry  plate 
and  one  printed  from  a  wet  plate,  as  there  is 
between  the  vigorous  landscape  painting  of 
the  Dusseldorff  artist,  and  the  soft,  delicate, 
tender,  color-dreams  of  Thomas  Hill,  the 
California  artist.  They  are  both  as  beauti- 
ful and  grand  as  they  can  be,  and  yet  how 
very  different  in  appearance.  Therefore,  no 
one  ought  to  say,  "  the  results  from  wet 
plates  are  superior  to  those  from  dry."  Any 
one  will  admit,  however,  that  they  are  dif- 
ferent. Users  of  dry  plates  should  not  at- 
tempt to  expect  the  same  results  from  dry 
plates  as  they  are  accustomed  to  secure  by 
the  wet  process.  We  hope  that  information 
on  the  further  practice  with  dry  plates  will 
have  plenty  of  attention  at  the  convention 
in  Buffalo. 

Another  direction  in  which  we  are  work- 
ing at  present  is  in  experimenting  with  the 
electric  light.  We  have  plenty  of  oppor- 
tunity to  make  not  only  indoor,  but  outdoor 
views  of  the  buildings,  and  shall  pursue 
the  subject  considerably  in  the  hope  of  se- 
curing some  information  that  will  be  of 
value  to  the  trade  generally.  A  photograph 
of  the  Music  Hall,  taken  a  few  evenings  ago 
by  electric  light,  produced  a  very  singular 
and  a  partially  opposite  result — that  is,  the 
flames,  so  to  speak,  of  the  electric  spark, 
were  clear  glass  in  the  negative,  and  pro- 
duced a  black  spot  surrounded  by  a  white 
nimbus  in  the  resulting  prints.  Some  of 
our  physicists  can  explain  this  result,  pend- 
ing our  further  observations. 

We  hear  a  great  deal  of  the  bad  weather 
which  our  friends  have  had  in  the  North ; 
we  assure  you  that  we  have  had  our  full 
share  of  it  in  the  Sunny  South.  As  stated 
in  the  article  on  "  Our  Picture,"  in  our  last 
number,  the  view  that  was  there  described 
was  only  possible  about  two  days  during 
the  whole  of  the  month  of  December,  not 
only  on  account  of  the  wind,  but  on  account 
of  the  lack  of  sun.  December,  January, 
and  February  as  well,  were  all  dismal  here, 
giving  us  but  little  sunshine.  This  made 
photography  at  the  World's  Industrial  and 
Cotton  Centennial  Exposition  a  great  trial. 


We  will,  for  the  sake  of  novelty,  append 
below  the  record  of  the  weather,  kept  by 
one  of  our  printers  at  the  Exposition  during 
the  month  of  February,  together  with  a 
statemont  of  the  number  of  sheets  of  paper 
he  printed.  It  is  rather  crude  in  make-up, 
but  it  tells  the  whole  story,  and  is  quite  in- 
teresting: 


2d.     Clear;  out  of  paper  a  while 

3d.     Morning  very  foggy 

4th.  A  beautiful  day  ;  help  part  of 

the  time 
5th.  Cloudy  in  the  morning ;  a  very 

strong  light   . 
6th.  Hazy  in  the  morning 
7th.  Printed  in  the  forenoon  ;  after 

noon  at  out-printing 

Total  for  six  days 

9th.  Cloudy  in  the  morning 
10th.  Hazy  in  the  morning 
11th.  Hazy  all  day    . 
12th.  Cloudy     and    cold ;     windows 

down      .... 
13th.  Pained  all  day  . 
14th.  Did  not  work  ;  laid  off  to  go  in 
town. 

Total  for  five  days     . 

16th.  A  nice  day 

17th.  A  nice  day 

18th.  Forenoon  cloudy 

19th.  Very  foggy 

20th.  Cloudy  part  of  the  day     . 

21st.    Rained      .... 

Total  for  six  days 

23d.  Cloudy  all  day 

24th.  Pained  all  day  . 

25th.  Cloudy      .         .         .         . 

26th.  Partly  cloudy   . 

27th.  A  very  strong  light  all  day 

28th.  Clear,  but  out  of  paper     . 

Total  for  six  days 
Total  for  month 


Printed. 
58 
56 


76 

80 
73 

38 
381 

71 
73 
52 

12 
14 


222 

68 
75 
56 
58 
64 
20 

337 

52 
20 
47 
70 
102 
74 

383 
1324 


Now,  however,  we  are  having  beautiful 
spring  weather.  The  orange,  plum,  and 
peach  trees  are  in  blossom,  the  pansy,  the 
hyacinth,  and  tulips  rival  each  other  in 
beauty  in  the  Exposition  flower-beds,  and 


THE    PHILADELPHIA    PHOXOGKAPHEK. 


101 


on  all  sides  the  buds  and  leaves  are  pushing 
forward  with  all  the  vigor  the  warm  sun 
can  inspire.  The  grass  is  green  ;  the  air  is 
balmy.  Those  of  you  who  are  freezing  at 
home  would  do  well  to  pay  us  a  visit. 

Quite  a  number  of  photographers  have 
honored  us  with  their  presence,  and  it  gives 
u£  a  pleasure  always  to  show  them  what  we 
consider  the  most  important  part  of  the  Ex- 
position— i.  e.,  how  a  great  barn  of  a  struct- 
ure can  be  turned  into  workrooms,  studios, 
and  storerooms,  where  nearly  sixty  people 
can  be  given  pleasant  employment  in  a 
moderate  clime.  Among  those  who  have 
visited  us  have  been  Messrs.  Jackson,  of 
Denver,  Haynes,  of  Wyoming,  Pugh,  of 
Georgia,  Blanks,  of  Mississippi,  Hays,  of 
Alabama,  Ayres,of  New  York,  Kingsbury, 
of  Connecticut,  and  Mrs.  Fitzgibbon  Clark, 
of  St.  Louis.  Mrs.  Fitzgibbon  Clark  re- 
mained here  several  days,  and  seemed  to 
enjoy  herself  hugely  during  her  visit.  She 
looks  well  and  talks  well  and  hopefully  of 
the  prospects  of  the  Practical  Photographer. 
She  went  home,  we  believe,  with  a  good 
deal  of  material  that  will  be  adapted  to  the 
interests  of  her  readers. 

We  hope  presently  to  secure  some  results 
for  the  study  of  our  readers  that  will  be  far 
superior  to  the  one  in  our  last  issue  ;  mean- 
while we  are  glad  to  know  that  others  have 
come  to  our  aid,  and  that  some  magnificent 
studies  are  in  preparation.  For  the  present, 
adieu. 


OUR  PICTURE. 

Wordsworth  has  said,  "  There  is  a 
pleasure  in  poetic  pains  which  none  but 
poets  know,"  and  we  might  well  say  there 
is  a  pleasure  in  photography  which  only 
photographers  know.  This  delight  begins 
the  very  moment  we  take  up  the  camera 
and  travel  forth  to  look  with  true  feeling 
upon  the  face  of  nature.  There  are  no 
arbitrary  doctrines  of  art  to  limit  us  in  our 
selection — no  set  rules  to  alter  the  true 
features  and  the  natural  expression  of  things. 
We  have  come  to  look  at  her  face  to  face, 
and  not  through  a  glass  darkly,  "  to  study 
with  joy  her  manner,  and  with  rapture 
taste  her  style."  The  commonest  objects 
discover  new  beauties  which    the   careless 


eye  has  time  out  of  mind  overlooked.  The 
camera  is  an  instrument  which  enlarges  our 
mental  vision,  and  the  world  which  afore- 
time was  "  a  blank  of  things,"  becomes 
clothed  with  beauty  and  loveliness.  We 
learn  something  at  every  moment,  we  dis- 
cover likenesses  and  differences  in  things, 
and  without  altering  in  an  iota  a  single 
phase  of  nature — create  new  scenes  which 
may  of  right  be  called  products  of  the 
imagination,  because  the  mind  first  per- 
ceives them,  not  the  sense.  But  photogra- 
phy is  no  recorder  of  dreams.  It  delights 
not  in  the  so-called  ideal — has  no  desire 
"  to  o'erstep  the  modesty  of  nature." 

Shakespeare  tells  us  his  "  mistress'  eyes 
were  nothing  like  the  sun,"  and  Richard- 
son acknowledged  that  Clarissa's  neck  was 
not  so  white  as  the  lace  upon  it,  what- 
ever poets  might  say  if  they  had  been 
called  upon  to  describe  it.  Men  of  less 
genius  have  sought  to  dress  nature  to  advan- 
tage— their  works  have  not  outlived  their 
times.  Photography  need  not  fear  the  slur 
cast  at  her  that  she  can  only  translate  nature 
line  for  line.  This  is  all  we  desire.  Nature 
has  charms  enough  and  is  inexhaustible  in 
her  resources.  She  is  constantly  creating 
scene  after  scene  of  exquisite  beauty,  which 
needs  only  the  true  feeling  for  the  beautiful 
in  the  soul  of  the  photographer  to  give 
it  a  "  local  habitation  and  a  name." 

Goethe,  in  his  Sorrows  of  Werther  has 
a  very  pleasing  reference  to  this  doctrine. 
He  says,  "About  a  league  from  the  town 
is  a  place  called  Walheim.  It  is  very 
agreeably  situated  on  the  side  of  a  hill. 
From  one  of  the  paths  which  lead  out  of 
the  village  you  have  a  view  of  the  whole 
country,  and  there  is  a  good  old  woman 
who  sells  wine  and  coffee  there,  but  better 
than  all  this  are  two  lime  trees  before  the 
church,  which  spread  their  branches  over  a 
little  green  surrounded  by  barns  and  cot- 
tages. I  have  seen  few  places  more  retired 
and  peaceful.  I  send  for  a  chair  and  a 
table  from  the  old  woman,  and  there  I 
drink  my  coffee  and  read  Homer.  It  was 
by  an  accident  that  I  discovered  this  place 
one  fine  afternoon.  All  was  perfect  still- 
ness— everybody  was  in  the  fields  except  a 
little  boy  about  four  years  old,  who  was 
sitting  on  the  ground  and  holding  between 


102 


THE    PHILADELPHIA    PHOTOGRAPHEE. 


his  knees  a  child  of  about  six  months.  He 
pressed  it  to  his  bosom  with  his  little  arms, 
which  made  a  sort  of  great  chair  for  it,  and 
notwithstanding  the  vivacity  which  sparkled 
in  his  eyes,  he  sat  perfectly  still.  Quite  de- 
lighted with  the  scene,  I  sat  down  on  a 
plow  opposite,  and  had  great  pleasure  in 
drawing  this  little  picture  of  brotherly  love 
and  tenderness.  I  added  a  bit  of  the  hedge, 
the  barn  door,  and  some  broken  cartwheels, 
without  any  regard  to  order  just  as  they 
happened  to  lie,  and  in  about  an  hour  I 
found  that  I  had  made  a  drawing  of  great 
expression  and  very  correct  design,  without 
having  put  in  anything  of  my  own.'"  This 
confirmed  me  in  the  resolution  that  I  had 
made  before,  only  to  copy  nature  for  the 
future.  Nature  is  inexhaustible,  and  alone 
forms  the  greatest  masters." 

We  make  no  apology  for  quoting  these 
words  of  a  great  man  who,  if  any  one  de- 
served the  title,  was  an  idealist.  Artists 
may  say  what  they  will  about  idealism,  in 
their  heart  of  hearts  they  lake  the  greatest 
delight  in  the  actual  transcripts  from  nature. 
The  Italian  painters  delight  us  not  alone 
by  the  greatness  of  their  art,  but  also  by 
the  power  with  which  they  have  selected 
and  portrayed  scenes  directly  from  the  daily 
life  in  Kome,  Venice,  or  Florence.  They 
have  recorded  personal  life  and  habitual 
scenes  of  domestic  relations.  They  have 
looked  at  life,  ai.d  life  breathes  from  their 
pictures.  Do  not  forget  that  their  pictu- 
resque costumes  were  the  habits  of  every- 
day life.  Our  cos'.umes  and  the  scenes 
which  we  daily  behold  are  not  a  bit  more 
prosaic  than  theirs.  Depend  upon  it,  time 
will  idealize  our  frockcoats  and  overskirts, 
and  the  painters  of  2000  A.  D.  will  sigh 
for  the  picturesque  garments  of  the  nine- 
teenth century. 

Everyone  is  pleased  with  representations 
from  nature,  with  beautiful  gardens,  lovely 
stretches  of  country,  groves  of  trees,  cattle 
on  the  meadows,  streams  and  rivers,  and  the 
sea  in  its  tempestuous  loveliness,  of  storm, 
or  when  with  soft  murmurings  it  is  hunger- 
ing for  calm.  He  who  renews  our  pleasure 
by  depicting  such  scenes  should  not  be 
called  dull  or  prosaic.  No,  he  is  not  called 
dull  or  prosaic  by  the  true  lover  of  art. 

The  above  remarks  have  been  made  by 


way  of  a  prologue  to  the  excellent  work 
which  it  is  our  privilege  to  give  our  readers 
this  month — work  which  is  a  confirmation 
of  Goethe's  words,  "7 found  I  had  made  a 
drawing  of  great  expression  and  very  correct 
design  without  having  put  in  anything  of 
my  own." 

There  is  no  necessity  of  putting  in  any- 
thing of  our  own  to  make  a  scene  delight- 
ful, but  one  thing  is  necessary  without 
which  there  will  be  no  beauty  to  delight  us, 
and  that  is  the  possession  of  taste  and  feel- 
ing in  the  selection  of  the  actual  in  nature. 
We  have  often  said  in  these  pages,  and  we 
are  not  afraid  to  repeat  it,  that  we  are  con- 
vinced that  photography  can  achieve  any- 
thing, provided  the  soul  of  the  artist  guides 
the  camera.  The  excellent  examples  of 
which  we  give  miniature  reproduction, 
bear  witness.  The  entire  work,  from  the 
exposure  of  the  plate  to  the  mounting  of 
the  finished  print,  was  performed  by  ama- 
teurs. The  photographs  are  marvels  of 
tone  and  finish.  The  artists  who  made 
them  are  citizens  of  San  Francisco  and 
vicinity,  and  the  scenery  the  beautiful 
shores  of  the  Pacific  Coast. 

It  is  hardly  necessary  to  say  that  they 
are  instantaneous  views.  How  much  vigor 
and  beauty  of  conception  they  possess. 
There  is  a  transparency  and,  at  the  same 
time,  a  moving  power  in  the  mass  of  water, 
and  the  surface  of  the  waves  is  illuminated 
with  beautiful  reflections.  Nothing  has 
been  added  to  these  pictures.  They  are 
just  as  nature  presented  them  at  the  instant 
of  time  they  were  taken,  yet  how  full  of 
expression.  The  centre  view  is  all  life  and 
animation — even  the  dust  raised  by  the 
horses'  hoofs  has  been  caught  in  its  whirl- 
ing motion,  giving  an  additional  charm  to 
the  view.  We  cannot  but  wonder  at  the 
extreme  sensitiveness  of  the  plates  upon 
which  these  views  were  taken.  One  of 
the  pictures  represents  a  rock  off  the  coast 
covered  with  sea  fowl.  The  air  also  throngs 
with  them,  yet  the  highly  sensitive  film 
has  secured  all  this  without  a  blur — even 
the  plumage  of  the  birds  is  minutely  de- 
tailed. 

The  Passavant  dry  plate  has  a  wide  and 
well-merited  reputation  for  combining  ex- 
treme rapidity  with  brilliancy,  softness,  and 


THE    PHILADELPHIA    PHOTOGRAPHER. 


103 


delicacy.  They  translate,  with  vigor,  the 
details  in  the  dark  portions,  and  give  a 
mellowness  in  the  high  lights  and  a  softness 
in  the  gradations  of  intermediate  tones, 
which  cannot  but  result  in  a  beautiful  and 
harmonious  negative.  Landscapes  taken 
upon  these  plates  preserve  that  air-drawn 
distance  which  softens  without  obscuring 
the  far-off  horizon — that  is,  they  give  that 
quality  of  atmosphere  which  renders  a  view, 
whether  apainting  or  photograph,  so  charm- 
ing that  we  seem  almost  to  breathe  the  air 
with  which  everything  seems  suffused. 

We  could  have  given  our  readers  a  better 
idea  of  the  individual  beauties  in  larger 
views,  but  then  we  would  have  failed  to 
have  presented  the  variety  of  conception  so 
admirably  manifested  in  the  representation 
of  marine  views.  Our  design  was  to  give 
studies  (we  say  it  with  all  deference  to  the 
fine  work  before  us),  and  to  show  how  a 
feeling  for  art  can  create  a  thing  of  beauty 
from  the  material  which  nature  presents  at 
any  one  point  of  time  or  portion  of  space. 

The  paper  upon  which  these  reproduc- 
tions are  made  is  the  celebrated  N.  P.  A. 
albumen  paper  furnished  by  Messrs.  E.  & 
H.  T.  Anthony  &  Co.,  of  New  York.    ■ 

REVIEW  OF  PHOTOGRAPHS  IN 
PHILADELPHIA  PHOTOG- 
RAPHER FOR  1884. 

(October,  November,  and  December.) 

BY   CHARLOTTE    ADAMS. 

In  a  vein  of  modern  realism  is  the  plate 
which  forms  the  frontispiece  of  the  October 
number.  It  is  especially  noticeable  for  the 
excellence  of  its  texture-rendering.  The 
peculiar  lustre  of  silk,  the  dusky  softness  of 
velvet,  are  here  given  with  a  just  apprecia- 
tion of  their  artistic  relative  value  and  of 
their  intrinsic  interest.  The  shining  surface 
of  the  long  kid  gloves,  the  hair  of  the  fur 
rug  on  which  the  figure  is  seated,  are  liter- 
ally reproduced,  but  are  in  no  sense  obtru- 
sive. These  accessories  are  kept  well  sub- 
ordinated to  the  figure.  It  is  not  the  pho- 
tographer's fault  if  the  subject  has  chosen  to 
array  herself  in  a  heavy,  unbecoming  sort  of 
costume,  which,  with  its  large  masses  of 
lights  and  darks,  overweights  her  dainty 
little  figure.     Any  one  who  glances  casually 


at  this  plate  can  see  that  his  attention  is  at 
once  arrested  by  the  large,  abruptly  con- 
trasted masses  of  black  and  white  that  form 
the  lower  part  of  the  photograph.  The  ar- 
tistic interest  is  illegitimately  concentrated 
on  these  meaningless  garments,  much  to  the 
injury  of  the  head.  How  great  would  have 
been  the  gain,  artistically  and  technically, 
if  the  subject  had  only  had  wisdom  and  tact 
enough  to  dress  herself  in  some  costume 
which  had  the  precious  quality  of  unobtru- 
siveness.  Of  course,  the  operator,  in  taking 
a  portrait-photograph,  cannot  be  held  ac- 
countable for  the  mistakes  in  dress  made 
by  his  sitters.  The  lighting  of  this  figure 
is  not,  however,  entirely  satisfactory,  and 
here  the  responsibility  of  the  photographer 
comes  in.  He  might,  to  a  considerable  ex- 
tent, have  neutralized  the  obtrusive  effect  of 
the  skirts,  by  focussing  the  lights  on  the 
head  and  shoulders  of  the  figure.  Another 
way  would  have  been  to  introduce  large 
masses  of  white  into  the  background,  to  re- 
peat those  in  the  draperies,  and  to  have  ac- 
cented the  head  more  strongly,  to  force  it 
into  bolder  relief  between  the  upper  and 
lower  masses  of  light.  There  is  considerable 
good  work  shown  in  the  details  of  this  plate. 
The  flowers  of  the  bonnet  and  the  fringes  of 
the  drapery  are  given  with  delicacy  and 
precision. 

A  very  artistic  piece  of  work  is  the  figure 
of  Mrs.  Langtry  as  Galatea,  which  accom- 
panies the  November  number.  It  has  the 
plastic  quality,  but  it  has  also  the  vital 
human  quality.  "We  see  before  us  Mrs. 
Langtry  the  woman,  as  well  as  Mrs. 
Langtry  the  actress,  and,  for  the  time  being, 
the  model.  The  pose  is  admirable,  whether 
the  merit  be  that  of  the  beauty  or  the  pho- 
tographer. Operators  who  have  actresses 
for  subjects  possess,  as  a  rule,  an  advantage 
over  other  photographers,  for  actresses,  from 
their  stage  training,  are  virtually  profes- 
sional artists'  models,  and,  in  matters  of 
pose  and  drapery,  instinctively  carry  out 
the  ideas,  or  even  the  faint  suggestions  of 
the  operator.  No  photographer  could  wish 
for  a  better  model  than  Mrs.  Langtry,  and 
in  this  plate  she  has  received  full  justice. 
It  is  rather  a  pity  that  so  artistic  and  well 
handled  a  figure  should  not  have  more  con- 
sistent surroundings.      If   the   background 


104 


THE    PHILADELPHIA    PHOTOGKAPHER 


had  been  a  united  space  of  darkness,  with- 
out any  suggestion  of  form,  the  figure  would 
have  been  thrown  into  stronger  relief,  and 
the  statuesque  effect  would  have  been  added 
to,  rather  than,  as  here,  detracted  from. 
The  Brussels  carpet,  with  its  geometrical 
designs,  forming  broken  masses  of  lights 
and  darks,  is  a  sight  to  make  gods  and  men 
weep.  How  much  better  would  it  have 
been  to  have  mounted  the  figure  on  a  ped- 
estal of  simulated  marble,  or  to  have  covered 
the  carpet  with  some  dark  material,  un- 
broken by  light  lines  or  forms.  With  the 
technique  of  the  figure  there  is  no  fault  to 
be  found.  The  finely  modelled  neck  and 
arms  are  faithfully  reproduced.  The  small 
crimped  folds  of  the  classic  garment  are 
given  with  due  sharpness  and  accuracy,  as 
well  as  appreciation  of  their  artistic  value, 
but  the  photographer  has  successfully  re- 
sisted the  temptation  to  accord  them  undue 
prominence  in  the  scheme  of  the  picture. 
The  artistic,  as  well  as  the  technical,  interest 
is,  very  properly,  concentrated  on  the  head 
and  shoulders.  Excellent  work  is  shown  in 
the  arrangement  and  execution  of  the  classic 
mantle  held  on  the  left  arm.  The  little 
acorn  ornament  forms  an  excellent  accent, 
repeating  the  slight  accents  formed  by  the 
girdle,  the  shoulder-fastenings,  and  the 
Greek  block  bordering  about  the  lower  edge 
of  the  garment.  The  head  is  well  handled. 
It  is  at  once  firmly  and  solidly  modelled, 
broad  in  general  impression,  and  yet  care- 
fully executed  as  to  detail.  In  the  head 
the  human  element  prevails  over  the  plastic. 
It  is  full  of  character  and  expression.  Every 
feature  is  instinct  with  spirit  and  intelli- 
gence. This  figure  is  quite  equal  to  the  best 
London  photographs  of  Mrs.  Langtry,  and 
much  superior  to  most  of  the  American. 

In  the  December  number  we  have  a  very 
complete  example  of  the  modern  realistic 
treatment  of  children  in  photography.  In 
nine  cases  out  of  ten  the  photographer  who 
handles  children's  portraits  will  do  well  to 
make  his  plates  smell  of  the  studio  as  little 
as  possible.  Very  few  photographs  of  chil- 
dren possess  the  naturalness,  simplicity,  and 
lack  of  affectation  which  should  characterize 
them.  To  begin  with,  the  fond  parent  or 
guardian  is  determined  that  Tommy  or 
Mamie  shall  appear  to  the  best  advantage, 


and,  if  possible,  in  a  more  or  less  ideal  aspect. 
This  alone  makes  Tommy  or  Mamie  rebel- 
lious or  submissive,  according  to  individual 
disposition,  and  little  pirates  and  little  prigs 
are  equally  trying  to  the  operator.  The 
photographer  himself,  with  an  eye  to  busi- 
ness, naturally  idealizes  his  subjects  and 
their  accessories,  in  order  to  appeal  to  the 
vanity  of  the  pecuniarily  responsible  parent. 
To  this  tacit  agreement  between  parent  and 
photographer  may  be  attributed  the  numer- 
ous horrid  little  monstrosities  that  fill  the 
photograph er 's  show-windows.  The  parental 
mind  is  seldom  educated  up  to  the  apprecia- 
tion of  photographic  realism  where  its  off- 
spring is  concerned.  Hence  comes  the  love 
of  pseudo-artistic  accessories  on  the  part  of 
parents  and  photographers  in  children's 
portraits.  Some  of  the  least  artistic  work 
produced  by  American  photographers  lies 
in  the  direction  of  children's  portraits.  This 
is  by  no  means  always  the  fault  of  the  pho- 
tographer. He  cannot  spend  his  time  strug- 
gling against  the  tide  of  popular  taste,  nor 
in  instilling  the  rudiments  of  a  theoretical 
art-education  into  the  minds  of  the  well- 
meaning  customers  who  want  their  money's 
worth  in  the  way  of  fanciful  adornments, 
such  as  chairs,  tables,  baskets  of  artificial 
flowers,  and  gift-books,  for  the  proper  setting 
off  of  Tommy's  charms.  Tommy  in  private 
life  may  be  a  freckled-faced,  shock-headed, 
rowdy,  jolly  little  piece  of  humanity.  But 
what  average  American  parent  would  wish 
to  have  his  Tommy  handed  down  to  pos- 
terity in  such  realistic  fashion  ?  His  own 
yearning  after  the  ideal  expresses  itself  in  a 
desire  to  give  Tommy  the  advantages  of  a 
liberal  photographic  setting.  So  Tommy  is 
oiled  and  soaped,  thrust  into  tight  new 
clothes,  and  his  best  boots  (that  are  awfully 
stiff),  given  a  clean  pocket-handkerchief, 
and  told  to  look  as  if  he  were  saying  his 
Sunday-school  lesson.  All  this  naturally 
puts  Tommy  in  a  very  pleasing  and  Chris- 
tian frame  of  mind.  He  goes  to  the  pho- 
tographer's as  if  he  were  on  his  way  to  the 
stake,  and  before  he  is  many  minutes  older 
he  finds  himself  pilloried,  by  the  joint  agree- 
ment of  parent  and  photographer,  between 
a  gorgeous  armchair  and  an  equally  gorge- 
ous sofa,  with  a  portiere  behind  him,  that 
looks  like  a  bed-quilt,  large  jars  of  flowers 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


105 


disposed  about  his  small  person,  and,  per- 
haps, a  photograph  alburn  under  his  elbow- 
There 's  nothing  mean  about  this  photog- 
rapher, thinks  Tommy's  parent,  and  his 
commercial  soul  rejoices  thereat.  Tommy's 
portrait,  when  it  finally  emerges  from  the 
photographer's  hands,  all  crisp  and  shining, 
is  welcomed  with  admiration,  and  is  en- 
shrined among  the  treasures  of  Tommy's 
family.  Everybody  is  satisfied,  except,  per- 
haps, the  photogropher,  who  possibly  has  a 
spark  of  artistic  conscience  glimmering  deep 
down  in  his  soul,  but  as  nobody  cares  in  the 
least  what  he  thinks,  it  doesn't  matter  at  all. 
The  strong  point  about  a  picture  like  the 
plate  accompanying  the  December  number 
is  its  unlikeness  with  the  general  run  of 
photographic  Tommies,  Tots,  and  babies. 
"Whether  the  fond  parent  enjoyed  some  in- 
sight into  the  first  principles  of  artistic  pho- 
tographic composition,  or  whether  his  yearn- 
ings for  decorative  accessories  were  overruled 
by  a  wise  providence  in  the  shape  of  a  judi- 
cious photographer,  we  are  not  informed. 
In  any  case,  it  is  an  uncommonly  successful 
photograph.  So  natural  and  simple  is  the 
pose  that  one  is  led  to  believe  that  the  pho- 
tographer has  adopted  the  stratagem  em- 
ployed by  so  many  artists  in  posing  their 
models,  in  order  to  obtain  desired  attitudes 
or  suggestions  of  the  best  aspect  of  the  figure. 
They  have  a  way  of  interesting  the  models 
in  conversation  or  passing  occurrences,  so 
that  the  consciousness  of  the  studio  is  elimi- 
nated from  their  minds,  and,  being  quite  at 
his  or  her  ease,  the  model  instinctively  falls 
into  desired  or  desirable  poses.  This  is  an  ex- 
cellent idea  to  apply  to  photographic  posing, 
especially  with  children.  It  is  much  more 
effective  than  the  innocent  fiction  of  the 
photographer  about  the  canary  bird  perched 
wherever  the  eyes  of  the  infant  were  in- 
tended to  rest — that  good  old  fiction  of  our 
childhood's  photographic  days,  before  the 
instantaneous  process  had  been  born  into  the 
world.  The  memory  of  that  fictitious  canary 
bird  comes  back  to  me  now  across  the  years 
wafted  on  the  smell  of  the  once  all-pervad- 
ing collodion.  The  child  of  the  present  day 
is  less  afflicted  with  that  awful  odor  in  the 
process  of  having  its  features  perpetuated 
for  the  benefit  of  a  posterity  that  may  never 
exist. 


The  lighting  is  another  of  the  good  quali- 
ties of  this  photograph  of  "  Little  Wee- 
Wee."  The  light  falls  on  the  right  side  of 
the  face  and  on  the  right  hand  in  such  a 
manner  as  to  cause  it  to  assume  the  position 
of  the  focus  of  the  composition.  It  also 
brings  forward  the  front  of  the  frock  with- 
out producing  an  obtrusive  effect.  A  less 
skilful  operator,  in  giving  due  value  to  the 
mass  of  white  forming  the  frock  and  the 
elaborate  detail  of  the  embroidery,  would 
have  exaggerated  it  and  have  injured  its 
harmonious  relation  with  the  head.  This 
operator,  however,  by  his  skilful  manipula- 
tion of  light,  has  given  all  the  parts  their 
just  balance.  The  fine  quality  of  tone  visi- 
ble in  this  plate  has  much  to  do  with  its 
success.  A  photographer  who  doubts  the 
artistic  importance  of  tone  should  compare 
this  plate  with  the  photograph  of  Miss  Efiie 
Ellsler,  in  the  October  number.  One  of  the 
striking  faults  of  that  plate  is  its  lack  of 
tone,  which  gives  the  masses  of  white  on 
the  drapery  such  offensive  prominence.  In 
the  portrait  of  "  Little  Wee- Wee  "  we  also 
have  a  mass  of  white,  but  it  is  kept  in  per- 
fect subordination  to  the  rest  of  the  compo- 
sition through  the  excellent  tone  of  that 
plate.  The  conclusion  is  obvious.  The  dis- 
tribution of  masses  in  the  ''Wee-Wee" 
plate  is  very  good.  They  are,  first  of  all, 
broad  and  united.  This  is  one  of  the  pri- 
mary causes  of  the  artistic  success  of  the 
picture.  There  are  no  niggling  details  ;  no 
superabundant  accessories  to  attract  the  at- 
tention of  the  spectator  from  the  figure. 
The  position  of  the  mass  of  white  between 
two  masses  of  dark,  slightly  opaque  in  effect, 
is  highly  favorable.  The  value  of  an  un- 
broken background,  and  particularly  a  dark 
one,  is  well  shown  in  this  photograph. 
Yery  skilful  is  the  modelling  of  the  hair. 
Here,  again,  much  may  be  attributed  to  the 
lighting.  The  breadth  of  treatment  does 
not  interfere  with  the  rendering  of  the 
separate  masses  of  hair.  The  silky  light- 
ness, so  noticeable  in  the  hair  of  well-cared- 
for  children,  is  here  admirably  reproduced. 
The  skull  is  firmly  grasped,  and  its  bony 
structure  is  strongly  felt  under  the  hair. 
The  modelling  of  the  face  is  vigorous  and 
soft.  There  is  no  trace  of  weakness  in  the 
flesh  texture  of  either  the  face   or   hands, 


106 


THE    PHILADELPHIA    PHOTOGRAPHED. 


but  it  has  all  the  fineness  and  delicacy  of 
epidermis  that  belong  to  children.  The 
good  surface  rendering  of  this  plate  is  well 
illustrated  in  the  open-work  embroidery  of 
the  frock.  It  is  of  the  kind  known  to  the 
contemporary  female  mind  as  "rick  rack." 
The  woollen  texture  of  the  table-cover  is 
well  given.  There  is  an  effect  of  solid  relief 
noticeable  in  this  plate  which  is  very  desir- 
able. If  photographers  only  understood  the 
value  of  this  quality  they  would  endeavor 
always  to  infuse  it  into  their  plates.  As  it 
is,  most  photographs,  especially  portraits, 
have  a  flat  look.  It  is  only  among  the  few 
photographers  who  understand  the  princi- 
ples of  art  as  applied  to  photography,  that 
we  may  look  for  this  essential  quality  of 
relief. 

As  a  whole,  the  twelve  plates  accom- 
panying the  Philadelphia  Photogra- 
pher for  1884  are  very  creditable  to  Ameri- 
can photography  at  large.  Various  schools 
and  methods  are  represented  in  the  series, 
and  the  professional  or  the  amateur  photog- 
rapher can  select  from  among  the  plates 
given  such  as  are  most  in  accordance  with 
his  own  bias  for  purposes  of  study  and  self- 
improvement.  The  ambitious  photographer 
should  lose  no  opportunity  for  the  exercise 
of  the  faculty  of  critical  analysis,  either  with 
regard  to  his  own  work  or  that  of  others. 
He  should  note  the  points  wherein  each 
plate  is  deficient,  and  apply  his  perception 
of  such  deficiency  in  his  own  productions. 
Every  professional  photographer  is  sup- 
posed to  possess  a  fair  mechanical  or  tech- 
nical equipment,  but  a  knowledge  of  the 
theory  of  art  has  not,  until  recently,  been 
regarded  as  an  essential  factor.  It  is  a  fact, 
however,  that  the  best  technical  work  is 
generally  seen  in  plates  which  are  artistic 
in  conception  and  treatment,  perhaps  be- 
cause a  workman  who  is  thorough  in  one 
particular  is  apt  to  be  thorough  in  all,  and 
ambitious  to  keep  pace  with  the  progress  of 
his  profession.  We  cannot  have  too  much 
art  in  American  photography,  but  it  must 
be  genuine  art,  not  pseudo-art.  Good  art 
is  based  on  essentials,  and  one  of  its  first 
principles  is  selection.  Even  the  best  pho- 
tographers do  not  always  bear  this  fact  in 
mind,  if  one  may  judge  from  their  produc- 
tions.    A  nice  sense  of  proportion  is  another 


fundamental  requirement  in  the  photog- 
rapher, and  yet  how  rarely  do  we  find  it 
even  in  the  plates  of  men  who  have  a  high 
reputation  for  artistic  work.  This  weak- 
ness is  epecially  noticeable  in  realistic  por- 
trait photography,  where,  unless  the  ope- 
ratorbe  unusually  keen  of  artistic  perception, 
in  nine  cases  out  of  ten,  he  will  allow  the 
accessories  of  costume  or  furniture  to  over- 
weight the  figure  and  diminish  its  force  as 
the  leading  idea  of  the  picture.  The  pho- 
tographer should  remember  that  the  subject 
is  always  more  important  than  the  acces- 
sories of  the  subject,  and  that  the  technical 
and  personal  interest  should  centre  in  the 
head.  Every  photographer  should  endeavor 
to  imprison  upon  his  negative  the  intellec- 
tual, moral,  and  spiritual  nature  of  his 
subject.  A  good  portrait  painter,  even  one 
who  is  chiefly  concerned  with  the  decora- 
tive, objective  aspect  of  his  sitter,  always 
infuses  into  his  portrait  the  hidden  person- 
ality that  reveals  itself  to  him  during  the 
process  of  outward  representation.  A  pho- 
tograph is  a  portrait,  and  the  attitude  of 
the  photographer  towards  his  subject  should 
be  precisely  the  same  as  that  of  the  painter 
towards  his.  The  photographer  has  the  ad- 
vantage of  being  able  to  grasp  his  subject 
in  an  instant,  and  perpetuate  the  most  fleet- 
ing expression,  while,  on  the  other  hand, 
the  artist  has  the  opportunity  of  studying 
the  personality  of  his  subject  during  several 
sittings  and  drawing  its  latent  character- 
istics to  the  surface. 

GERMAN  CORRESPONDENCE. 

Opera  Glasses  and  Moonshine  in  Photog- 
raphy—  Application  of  Photography  to 
Astronomy —  Warnecke's  Rapid  Paper  and 
Orthochromatic  Plates — Societies  of  Ope- 
rative Photographers  and  Journals — Influ- 
ence of  Moisture  on  Aniline  Process. 

Two  things  at  present  seem  to  be  attract- 
ing notice  in  photography,  to  which  hitherto 
photographers  have  not  given  much  atten- 
tion ;  they  are,  the  opera  glass  lens  and  the 
moonlight. 

Four  years  ago  my  pupil,  Mr.  Jahr,  suc- 
ceeded in  taking  by  moonlight  a  photograph 
of  the  Garfield  Monument  in  Cleveland.  At 
that  time  he  gave  an  exposure  of  from  six 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


107 


to  seven  hours,  but  to-day  the  thing  can  be 
done  much  more  rapidly.  A  young  astron- 
omer, Mr.  Baltin,  exhibited  at  the  Society 
for  the  Advancement  of  Photography  an 
interesting  stereoscopic  picture,  made  by 
himself,  representing  the  fountain  of  the 
Potsdam  Observatory  with  the  surroundings. 
The  picture  was  taken  on  the  26th  of  Janu- 
ary at  night  during  moonlight,  upon  the 
highly  sensitive  gelatine  plate  of  G-adeke. 
He  used  for  an  objective  a  pair  of  opera 
glasses  ;  the  stop  had  a  diameter  of  one  cen- 
timetre ;  the  time  of  exposure,  was  two  and  a 
half  hours.  On  development  the  plate  was 
laid,  first  of  all,  in  a  weak  solution  of  soda. 
The  exposure  was  a  success,  and  scarcely  to 
be  distinguished  from  a  negative  of  the  same 
subject  taken  by  daylight.  One  thing  con- 
tributing to  the  success  of  the  experiment, 
was  the  fact  that  the  structure  and  surround- 
ings were  at  the  time  covered  with  snow. 
This  view  excited  great  interest.  The  re- 
mark was  made  that  amateurs  used  opera 
glass  lenses.  There  was  very  often,  to  be 
sure,  a  focal  difference  in  the  two,  which 
could,  however,  be  easily  corrected.  The 
focal  length  amounted  to  about  ten  centi- 
metres. Accordingly,  in  the  case  of  the 
experiment  of  Mr.  Baltin,  the  relative 
aperture  was  only  one-tenth.  No  doubt, 
with  a  portrait  lens,  aperture  one-third,  the 
operation  could  be  performed  in  a  shorter 
time — that  is,  in  the  proportion  of  3.2: 10.2 
or  9  :  100,  therefore  eleven  times  quicker,  or 
in  about  fourteen  minutes.  It  may,  there- 
fore, be  perceived  that  the  gelatine  plate 
has  made  some  progress,  especially  in  sensi- 
tiveness, inasmuch  as  the  same  result  at  the 
present  time  may  be  effected  in  fourteen 
minutes,  which  four  years  ago  required  from 
six  to  seven  hours.  Moreover,  the  experi- 
ment has  been  made  of  attempting  repro- 
ductions by  moonlight.  My  assistant,  Mr. 
Schultz  Menke,  recently  took  in  full  moon- 
light, with  an  exposure  of  two  hours,  a  color 
scale.  The  results  showed  that  bright  yel- 
low (Naples  yellow)  acts  less  energetically 
with  moonlight  than  by  daylight,  confirm- 
ing the  fact  that  the  moonlight  in  yellow 
rays  i6  relatively  much  poorer  than  day- 
light. 

It  seems  that  the  importance  of  the  opera 
glass  is  not  confined  to  the   amateur,  but 


meets  also  with  favor  with  the  practical 
photographer.  Mr.  Haberknd  has  taken 
groups  with  it  under  the  skylight,  and  has 
achieved  good  results.  He  has  also  used  it 
for  instantaneous  pictures.  Astronomers 
are  among  the  most  zealous  votaries  of  our 
art.  The  physical  observatory  at  Potsdam, 
near  Berlin,  cultivates  the  science.  Dr. 
Lohse,  besides  the  great  number  of  photo- 
graphs of  the  sun  (ten  centimetres  in  size) 
intended  for  the  registry  of  the  sun-spots, 
has  endeavored  to  make  much  larger  pict- 
ures (thirty  centimetres  in  diameter).  He 
makes  use  of  an  artifice.  He  observes  the 
sun  through  a  telescope  of  peculiar  con- 
struction; awaiting  the  favorable  moment, 
he  touches  off  the  instantaneous  shutter  of 
the  heliograph  so  that  the  exposure  takes 
place.  The  number  of  errors  occasioned  by 
motion  in  the  atmosphere  can  then  be  re- 
duced to  a  minimum,  and  much  time  and 
expense  saved.  The  earlier  experiments 
of  taking  the  photographs  of  the  greater 
planets  at  the  focal  point  of  the  great  refrac- 
tors has  been  continued.  Dr.  Lohse  could 
also  carry  into  effect  the  idea  of  receiving 
direct  enlarged  images  in  the  instrument. 
It  would  necessitate  the  employment  of  a 
negative  lens  which  would  produce  an  en- 
larged image  before  being  brought  in  com- 
bination at  the  focus.  The  employment  of 
such  a  lens  has  the  advantage  that  the 
camera  placed  on  the  ocular  end  need  not 
be  so  long  as  with  the  use  of  a  positive  lens. 
Inasmuch,  as  at  the  end  of  October  Mars 
and  Jupiter  were  very  close  together,  Dr. 
Lohse  had  taken  a  number  of  exposures  of 
the  two  planets  with  a  regular  progressive 
time  of  exposure  upon  the  same  plate  to 
make  a  comparison  of  their  photographic 
effects.  On  the  5th  of  May,  the  same  ob- 
server had,  with  reference  to  the  solar 
eclipse  the  next  day,  taken  a  series  of  ex- 
posures upon  the  sun's  surroundings,  which 
were  later  compared  with  the  corona  pho- 
tographs taken  during  the  eclipse.  The 
exposures  were  made  with  a  Steinheil  ob- 
jective, and  the  necessary  preparations  taken 
in  order  to  modify  the  intensity  of  the  light 
of  the  sky  to  the  corona  light.  To  prevent 
injurious  reflections,  the  plates  were  coated 
on  the  back  with  red  collodion,  or  gelatine 
films  were  employed  instead  of  the  plates. 


108 


THE    PHILADELPHIA    PHOTOGRAPHER 


The  photographic  novelties  of  Warnecke 
&  Co.  are  attracting  attention.  First  of  all, 
we  must  mention  the  rapid  paper.  We  are 
informed  that  the  paper  is  principally  cov- 
ered with  chloride  of  silver  gelatine  emul- 
sion. The  importance  of  chloride  of  silver 
emulsion  has  for  years  heen  underrated ; 
now  it  is  looming  again  into  importance. 
The  paper  has  in  this  place  heen  repeatedly 
tried.  It  has  heen  found  that  short  exposures 
do  not  give  pleasant  tones.  Some  of  them 
are  very  unpleasant  by  daylight.  With 
full  exposures  we  get  pictures  which  tone 
bett«r  in  the  gold  bath.  Whether  the  paper 
in  its  present  state  will  satisfy  the  demands 
of  practical  photographers  is  an  open 
question,  but  no  doubt  it  has  a  future. 
Warnecke  &  Co.  also  make  orthochromatic 
plates,  prepared  according  to  a  formula  of 
Abney's,  demanding  in  application,  like 
azaline  plates,  the  employment  of  yellow 
glass.  The  orthochromatic  plates  do  not 
appear  to  possess  great  sensitiveness.  A 
plate  which  required  two  seconds  for  ex- 
posure without  the  yellow  glass,  required 
rive  minutes  with  it,  that  is,  one  hundred 
and  fifty  times  as  much.  Azaline  plates 
require  with  yellow  glass  only  six  times 
as  much  exposure  as  without,  and  with  the 
new  orange-colored  yellow  glass  only  three 
and  a  half  times. 

As  is  well  known,  we  have  now  very 
many  photographic  associations.  The  ope- 
rative societies,  in  especial,  are  growing  in 
importance.  At  present  the  Vienna  Opera- 
tive Society  has  three  hundred  members.  It 
has  its  own  publication,  called  Der  Photo- 
graphische  Mitarbeiter,  a  journal  for  pho- 
tographic operators,  retouchers,  etc.,  edited 
and  published  by  Hans  Lenhard,  of  Vienna. 
It  appears  monthly,  and  is  devoted  to  the 
interest  of  the  operative  fraternity.  The 
Society  of  Operative  Photographers  in 
Vienna  employ  this  journal  as  their  organ. 
At  their  general  assembly  on  the  23d,  they 
resolved  to  take  in  the  name  of  the  Society 
three  hundred  copies  and  distribute  them 
fiee  of  charge  to  the  members.  I  may 
mention  in  connection  that  the  older  Vienna 
Society  has  given  up  its  semi-monthly  issue, 
and  has  returned  to  the  monthly,  in  conse- 
quence of  which  Vienna  has  now  three 
monthly  journals. 


Eecently  my  assistant,  Mr.  Schultz  Menke, 
made  a  very  interesting  observation  of  the 
effects  of  dampness  upon  aniline  prints. 
We  had  prepared  for  the  first  time  in  our 
new  institute  aniline  prints  after  the  well- 
known  Willis  process.  We  used  the  for- 
mula which  we  had  been  using  for  the  last 
twenty  years  with  success,  but  for  the 
first  time  had  a  complete  failure.  The 
pictures  would  not  develop.  By  accident 
Mr.  Schultz  Menke  breathed  upon  the  ex- 
posed pictures  which  were  in  the  fuming 
box,  and  at  the  same  instant  the  picture  ap- 
peared with  great  rapidity.  Dampness, 
therefore,  doubtless  plays  an  essential  part 
in  the  development  of  these  pictures.  In  the 
old  high  school  the  place  was  damp;  in  our 
new  institute  everything  is  dry.  I  have 
received  repeated  inquiries  from  America 
concerning  the  failures  with  this  process, 
which  is  used  much  for  tracing.  I  am, 
therefore,  convinced  that  want  of  moisture 
in  the  fuming  box  is  the  cause,  and  would, 
therefore,  recommend  the  employment  in 
the  box  of  blotters  dampened  with  water. 
Tours  very  truly, 

Dr.  W.  Vogel. 
Berlin,  March,  1885. 


AN  ANSWER  TO  AN  AMATEUR. 

Through  the  courtesy  of  the  editor  of 
the  Philadelphia  Photographer,  I 
would  like  to  answer  a  question  or  two, 
asked  by  "An  Amateur,"  in  the  March 
issue  of  this  journal,  and  also  to  notice 
another  article  which  appeared  in  the  same 
number. 

In  the  Photographic  News  Year  Book  for 
1884,  I  published  a  formula  for  a  hypo  bath 
which  can  be  used  perpetually. 

The  formula  is  not  my  own.  As  near  as  I 
can  remember,  I  got  it  from  an  old  Beebe 
developer  formula,  but  I  believe  I  am  the 
first  who  publicly  advocated  the  long-con- 
tinued use  of  a  strained  hypo  bath.  It  is 
made  as  follows : 

4  ounces. 
16  ounces. 
30  grains. 

Soon  a  sulphury  precipitate  will  form, 
which,  for  convenience,  I  filter  out,  although 
it  does  not  appear  to  injure  the  negatives 
if   left  in.      When    it   is   found   that   the 


Hyposulphite  of  Soda 

Water 

Then  add  Citric  Acid 


THE  PHILADELPHIA  PHOTOGEAPHEE. 


109 


bath  works  loo  slowly,  a  little  hypo  must  be 
added.  It  sometimes  happens  that  plates> 
after  development  with  pyro,  are  not  thor- 
oughly washed  before  fixing,  and  the  hypo 
bath  becomes  so  discolored  with  developer 
that  the  films  are  stained  yellow,  when  this 
happens  a  few  grains  of  citric  acid  must  be 
added,  and  the  negatives  will  again  clear  up 
dark  gray.  I  have  a  bath  of  this  kind 
which  has  been  in  use  for  two  years,  and  it 
is  still  as  good  as  when  first  made. 

Except  for  hardening  purposes,  I  do  not 
find  it  necessary  to  use  the  alum  bath  ;  my 
plates  are  washed  for  two  hours  in  a  tray 
having  a  small  stream  of  water  running 
through  it,  and  I  have  never  yet,  in  six 
years'  use  of  gelatine  plates,  lost  a  negative 
from  hypo,  but  many  of  my  acquaintances, 
who  either  wash  plates  a  shorter  time  or 
washing  them  long  enough,  even  by  letting 
a  tap  stream  fall  on  them  and  run  directly 
off,  have  had  many  valuable  negatives 
spoiled. 

Under  the  heading  of  "  Dots  of  the  Day," 
attention  is  called  to  Mr.  Rockwood's  "new 
artistic  idea  "  called  "  At  Home  Pictures," 
and  the  reader  is  made  to  infer  that  Mr. 
Rockwood  is  the  originator  of  the  idea. 
During  the  winter  of  the  year  of  1881,  I 
conceived  the  idea  of  making  portraits  and 
groups  at  the  houses  of  the  sitters,  and  tried 
to  get  Mr.  G-.  W.  Davis,  of  Washington, 
D.  C,  with  whom  I  then  was,  to  introduce 
them.  In  March  or  April  following,  I 
began  making  them  at  Nantucket,  Mass., 
with  great  success,  as  the  good  people  of 
that  place  will  testify  to,  and  I  advertised 
them  in  the  papers  of  the  place  as  "At 
Home  Portraits,"  in  which  the  subject  could 
be  taken  surrounded  by  home  subjects. 
Shortly  after  this  I  saw  in  one  of  the  Eng- 
lish journals  that  some  one  in  Europe  was 
doing  the  same  thing,  giving  them  exactly 
the  same  title.  When  the  idea  was  put  in 
practice  by  me,  I  was  not  aware  that  anyone 
else  had  ever  thought  of  it.  It  may  be  so 
with  Mr.  Rockwell  even  now.  As  far  as  I 
know,  I  was  the  first  to  fit  up  for  and  prac- 
tise that  branch  of  photography  in  America, 
but  if  anyone  else  can  show  that  he  was 
ahead  of  me,  I  will  yield  the  point  of  pri- 
ority to  him,  but  certainly  not  to  anyone 
who  began  it  since.  Harry  Platt. 


WHOSE  HAND  ARE  WE  IN? 

Every  expert  plate  photographer  of  to- 
day would  probably  confess  that  he  was 
always  best  satisfied  with  himself  when  he 
could  and  did  make  his  own  bath  and  collo- 
dion in  successful  working  order.  Then 
when  his  patient  became  s  ick  he  could 
understandingly — it  is  fair  to  presume — 
administer  the  needed  remedy.  But  with 
the  average  photographer  of  to-day  how  is 
it?  Who  makes  your  bath  and  collodion? 
Which,  of  course,  simply  means  dry  plates. 

We  were  not  favorably  impressed  when 
the  gelatine  plates  were  first  brought  into 
our  gallery  some  three  years  ago,  and  de- 
clared that  if  this  was  the  "  new  era,"  a 
very  little  of  it  would  do  us.  But  our  ope- 
rator had  given  his  notice  that  he  would 
leave  if  the  plates  were  not  forthcoming, 
and  so  they  came  and  were  tried,  and  we 
were  both  disgusted.  We  had,  however, 
the  consolation  of  saying  to  our  patrons 
that  the  required  time  for  sittings  had  im- 
mensely shortened  up,  and,  in  fact,  their 
attention  was  called  to  this  point  more  par- 
ticularly than  to  anything  else.  The  light- 
ning process,  however,  at  that  time  did  not 
quite  satisfy  our  patrons,  who  had  vis- 
ited our  gallery  from  year  to  year  and  had 
pictures  made;  they  could  readily  see  the 
difference  in  the  quality  of  work,  and  were 
not  timid  in  their  remarks.  Explanations 
would  not  have  been  agreeable  on  our  part, 
nor  would  it  have  been  possible  to  have 
thrown  the  right  light  on  the  subject,  and 
now  to  ease  up  on  this  part  of  the  experi- 
ence we  are  quite  ready  to  confess  that  we 
think  the  albums  throughout  this  section  of 
the  country  show  pretty  correctly  when  dry 
plates  were  first  introduced. 

Who  has  not  seen,  in  his  experience 
(don't  be  afraid  to  own  up),  where  the  one 
left  off  and  the  other  began.  There  is  not 
such  a  great  gulf  between  the  two  now, 
and  the  gelatine  process  (unlike  some  new 
things)  has  come  to  stay  for  a  while  at  least. 
And  now  with  this  view  of  the  case,  the 
manufacturers  of  the  plates — in  whose 
hands  we  are  so  long  as  we  buy  them — 
would  do  well  to  remember  some  things : 
at  the  price  they  are  getting  for  their 
plates,    better   glass   should    be    used    and 


110 


THE    PHILADELPHIA    PHOTOGKAPHEE, 


more  pains  should  be  taken  in  cutting  the 
glass  to  fit  the  tablets.  It  is  not  pleasant 
for  the  artist  to  stop  to  cut  down  the  glass  to 
fit,  and  this  should  be  done  by  the  maker  of 
the  plates  ;  we  would  suggest  that  the  plates 
be  cut  a  sixteenth  part  of  an  inch  below  the 
marked  size.  Does  not  your  price  for  your 
goods  pay  you  for  taking  this  pains?  We 
know  you  talk  about  your  new  holders,  but 
we  say  cut  the  glass  the  right  size.  "We 
find  no  fault  with  the  price  of  plates,  but 
would  suggest  on  general  principles  and  on 
chemical  principles  particularly,  that  in  a 
process  so  difficult  of  manipulation  as  that 
of  making  good  reliable  gelatine  plates,  that 
the  utmost  care  be  taken  and  none  but  the 
most  reliable  painstaking  skilful  help  be 
employed.  "We  would  also  say  to  photog- 
raphers— for  their  special  benefit — that  dry 
plates,  when  properly  made,  have  all  the 
chemical  wealth  of  wet  plates  in  point  of 
results  with  anywhere  from  ten  to  twenty- 
fold  speed  added  thereto,  and,  in  fact,  are  but 
a  continuation  of  the  wet  plates.  "We  know 
there  is  a  little  more  difficulty  attending  the 
proper  toning  of  negatives  made  by  this 
process,  but  a  thorough  study  of  light  will 
surely  bring  its  reward. 

L.  M.  Eice. 

Warren,  O. 

GLEANINGS. 

From  a  consular  report  addressed  to  the 
Minister  of  Commerce,  we  learn  that  several 
merchants  of  Marseilles  have  caused  wines 
received  from  Algiers  to  be  photographed. 
Photography,  says  the  report,  reveals  adul- 
terations of  wines  by  the  changes  made  in 
the  crystals  and  in  the  color.  If  a  wine  has 
been  diluted  with  water,  and  alcohol  or  sugar 
added,  the  presence  of  a  greater  abundance 
of  crystals  or  salts  will  show  it.  Photog- 
raphy could  also  be  used  to  detect  wines  con- 
taining fuchsine  or  other  coloring  matters, 
and,  besides,  to  determine,  with  a  certain  de- 
greeof  precision,  the  age,  the  source,  and  the 
condition  of  the  liquid. — Revue  Photograph- 
ique. 

At  a  recent  meeting  of  the  Photographic 
Society  at  Coventry,  Mr.  Baynton  made 
known  his  process  for  preparing  trans- 
parent positives  with  chloride  gelatine  for 


use  in  the  lantern.  It  is  to  Mr.  Civrac  that 
he  owes  the  formula  of  the  emulsion,  and 
to  Mr.  Edwards  that  which  is  used  for  the 
developer ;  but  the  author  has  slightly 
modified  them,  as  we  shall  see: 

Nitrate  of  Silver,     .         .       30  grammes. 
Water,      .         .         .         .300 
Gelatine  (hard),        .         .30         " 
Chloride  of  Sodium  (pure),      15         " 
Water,       .         .         .         .300         " 
Soak  the  gelatine  for  a  short  time,  and 
dissolve  by  placing  the  vessel  in  water  at 
about  50°  C.  ;  heat  the  solution  of  nitrate 
of  silver  to  the  same  temperature.     Carry 
these  two  preparations  to  the   dark-room, 
and  mix  them  as  is  usually  done  for  obtain- 
ing emulsion.     Now  cool  by  placing  the 
vessel  in  running  water.     "When  the  emul- 
sion  is  cold  it  is  washed,  remelted,   and 
filtered.    All  these  operations  are  performed 
as  in  the  preparation  of  ordinary  gelatino- 
bromized    emulsion.     Expose    to    diffused 
light  for  about  five  seconds,  more  or  less, 
according  to  the  density  of  the   negative. 
For  the  development  take  : 

No.  1. 

Neutral  Oxalate  of  Potash,      60  grammes. 
Chloride  of  Ammonium,   .    2.60         " 
Citric  Acid,       .         .         .    7.50         " 
Distilled  Water,        .         .     600         " 

No.  2. 
Ferrous  Sulphate,    .         .       15  grammes. 
Alum,        ....         6         " 
Distilled  Water,        .         .     600         " 
Add  a  portion  of  No.  2  to  the  same  quan- 
tity of  No.  1  (No.  1  should  not  be  added  to 
No.  2,  otherwise  the  result  would  not  be  so 
satisfactory).     If  the  plate  has  been  pro- 
perly exposed  the  result  will  be  a  print  of 
purplish-black  tone.     If  a  brown  or  warm 
tint  is  desired,  double  the  time  of  exposure 
and  add  to  the  developer  its  volume  of  pure 
water.     In  this  case  development  is  much 
slower.     Eix  by  plunging  the  transparent 
plate  in  : 

Hyposulphite  of  Sodium,  1  part. 

Water 8  parts. 

And  after  fixing  and  washing  allow  the 
plate  to  remain  for  half  a  minute  in  a  bath 
composed  of: 

Alum,       .         .         .         .30  grammes. 
Sulphuric  Acid,         .         .30 
Water,       .         .         .         .600         " 


THE    PHILADELPHIA    PHOTOGKAPHEP. 


Ill 


This  bath  dissolves  and  causes  the  disap- 
pearance of  the  opalescence  left  by  the  action 
of  the  oxalate.  After  this  operation  the  plate 
should   be  well   washed,  dried,  and  finally . 
varnished  in  the  ordinary  manner. 

It  is  said  that  a  new  manufactory  of  the 
metal  magnesium  has  been  established  at 
Charlottenburg,  near  Berlin,  at  which, 
by  a  process  of  electric  reduction,  magne- 
sium is  produced  at  the  price  of  twelve 
francs  per  pound. 

A  Dutch  chemist,  Dr.  Beijernick,  of 
Amsterdam,  has  made  a  discovery,  which, 
at  this  time,  attracts  a  grea',  deal  of  atten- 
tion. He  pretends  that  the  formation  of 
gum  in  vegetables  is  a  special  disease,  and 
that  by  placing  a  small  piece  of  gum  in  an 
opening  made  in  the  bark  of  a  tree,  large 
quantities  of  it  may  be  produced  ;  in  a  word, 
it  is  a  veritable  inoculation. 

Astronomical  photography  has  just 
made  another  step  forward.  A  Polish 
scientist,  M.  Belopolski,  informs  us  that  the 
track  of  a  comet  among  the  stars  may  be 
more  accurately  studied  by  means  of  pho- 
tography than  by  any  other  method.  The 
place  of  the  stars  being  fixed,  whilst  the 
comet  travels  with  enormous  rapidity,  its 
course  through  the  starry  heavens  may  be 
reproduced  during  several  successive  nights, 
which  would  give  the  path  with  great  ac- 
curacy. But  for  this  it  is  necessary  to  use 
a  special  lens.  After  a  great  number  of  ex- 
periments, Mr.  Belopolski  decides  in  favor 
of  the  small  English  portrait  lens  as  giving 
the  greatest  rapidity  and  the  best  defini- 
tion. Although  he  used  it  without  a  stop, 
this  lens,  levelled  at  the  milky  way  for  an 
hour,  gave  him,  perfectly  well  defined,  the 
stars  of  the  ninth  magnitude.  The  di- 
ameter of  a  star  of  the  ninth  magnitude  on 
the  plate  is  0.036  of  a  millimetre. 

At  St.  Petersburg,  it  is  said,  the  photo- 
graphic business  at  this  time  is  very  dull. 
Not  less  than  eighteen  houses  have  been 
closed  since  the  summer.  On  the  Newski, 
a  photographer  announces  that  for  the  sum 
of  seventy-five  francs,  paid  down,  he  takes 
the  engagement  to  furnish  portraits  at  six 
different  times  during  the  year. 

Impervious  Paste. — Soak  ordinary  glue 
until  it  softens,  remove  it  before  it  has  lost 


its  original  shape,  and  dissolve  in  ordinary 
linseed  oil,  on  a  gentle  fire,  until  it  acquires 
the  consistency  of  a  jelly.  This  paste  may 
now  be  used  for  all  kinds  of  substances,  as, 
besides  strength  and  hardness,  it  possesses 
also  the  advantage  of  resisting  the  action  of 
water. — Monde  de  la  Science. 

A  correspondent  writes  to  M.  Andra, 
pointing  out  the  fact  that  sulphocyanide 
does  not  dissolve  alumed  gelatine,  and, 
therefore,  could  be  used  for  fixing  gelatine 
negatives.  This  product  also  would  have 
the  property  of  greatly  facilitating  the  clear- 
ing of  carbon  prints. — Paris  Moniteur. 

According  to  Captain  Abney,  the  desic- 
cation of  gelatino-bromide  plates  is  a  subject 
of  the  highest  importance.  If  desiccation  is 
done  slowly,  plates  are  obtained  liable  to 
fog ;  if  they  be  dried  too  rapidly,  they  pro- 
duce blisters.  What  should  be  done  to 
avoid  this  trouble  ?  It  is  necessary  that  the 
desiccation  should  be  done  in  not  less  than 
eight  hours,  and  not  more  than  twenty-four 
hours.  It  is  indispensable,  says  Captain 
Abney,  that  manufacturers  of  these  plates 
should  conform  to  this  rule. 

Portrait  Photography;  Method  to 
Enable  a  Person  to  Seek  a  Suitable 
Expression. — It  is  very  often  difficult,  not 
to  say  impossible,  to  photograph  certain 
faces;  their  mobility  of  expression,  the 
tension  of  the  nerves,  cause  them  to  make 
grimaces.  An  excellent  way  (which  is  not 
new,  however)  consists  in  making  the  sitters 
look  at  a  mirror ;  but  the  difficulty  in 
placing  them  in  the  exact  position  causes  a 
loss  of  time,  and  this  process  is  neglected. 
To  obviate  this  difficulty,  the  mirror  in 
question  is  movable,  is  mounted  on  a  head- 
rest, and  can  be  raised  or  lowered,  as  well 
as  turned  upon  itself.  At  the  top  of  its 
frame  and  in  the  middle  is  placed  a  small 
tube,  from  two  to  thiee  millimetres  in 
diameter,  about  ten  centimetres  long,  and 
terminated  by  a  cone  serving  as  an  eye- 
piece. The  operator,  placed  behind  the 
mirror,  and  looking  through  the  small  hole, 
points  the  appliance  at  the  middle  of  the 
face  of  the  sitter,  and  is  sure  that  he  can 
see  himself  without  being  obliged  to  put 
the  question    to   him.      To  find   the  exact 


112 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


angle  at  which  the  tube  should  be  placed, 
nothing  is  easier.  A  wafer  is  fixed  in  the 
centre  of  the  movable  mirror,  which  is 
placed  parallel  at  a  certain  distance.  The 
small  tube  is  introduced  into  an  open- 
ing made  beforehand  on  the  frame  of  the 
small  mirror ;  the  tube  is  pointed  through 
the  opening  at  the  wafer,  which  is  reflected 
in  the  other  mirror.  The  tube  is  now  de- 
finitely fixed,  and  it  corresponds  exactly  to 
the  centre  of  the  small  mirror. 

Dr.  E.  A.  Just,  manufacturer  of  photo- 
graphic paper  at  Vienna,  writes  as  follows: 

"The  general  tendency,  it  is  true,  is  to 
give  a  preference  to  everything  that  is  cheap, 
and  it  is  easy  to  understand  that  manufac- 
turers, in  order  to  compete,  should  be  obliged 
to  lower  the  quality  of  their  paper  ;  but  it 
would  never  enter  their  minds  to  lessen  the 
strength  of  the  saline  solutions  in  the  albu- 
men, the  value  of  the  salt  being  too  small 
to  be  taken  into  consideration.  The  value 
of  the  substances  necessary  in  the  manufac- 
ture of  albumenized  paper — for  example, 
double  albumenized  paper  of  ten  killo- 
grammes — is  in  the  following  ratio:  Paper, 
4600;  albumen,  1200  to  1900;  salt,  8.  It 
results  from  the  examination  of  this  propor- 
tion that  manufacturers  have  nothing  to 
gain  in  using  less  salt,  but,  on  the  contrary, 
there  is  much  to  gain  as  regards  the  paper 
and  the  albumen.  As  is  well  known,  the 
paper  mostly  comes  from  the  paper  mills  at 
Bives,  and  the  manufacturers  of  this  locality, 
knowing  that  it  is  impossible  to  give  a  good 
article  at  a  low  figure,  keep  up  their  prices 
and  furnish  only  excellent  paper. 

"As  to  the  albumen,  something  might  be 
gained  by  using  a  less  dense  solution  and  a 
thinner  coating.  But  it  seems  that  the  im- 
possibility, which  many  photographers  ex- 
perience, in  obtaining  brilliant  prints  of  a 
purple  tone,  arises,  on  the  one  hand,  from 
the  quality  of  the  albumen  before  the 
preparation,  and  on  the  other  from  the  im- 
purity of  the  nitrate  of  silver  and  of  the 
chloride  of  gold,  and,  besides,  from  the 
manner  of  sensitizing.  More  attention 
should  be  paid  to  these  points.  The  paper 
should  be  supple,  and  contain  a  certain 
amount  of  humidity,  as  then  tbe  albumen 
is  already  swelled,  which  facilitates  absorp- 


tion as  soon  as  the  paper  is  floated  on  the 
bath  of  nitrate  of  silver;  and,  moreover, 
the  capillary  attraction  of  the  fibres  of  the 
paper  is  diminished.  In  order  to  obtain 
the  purple  tone  and  the  desired  brilliancy, 
it  is  necessary  to  observe  what  precedes,  to 
use  a  rather  brilliant  negative,  and  an  al- 
bumenized paper  of  good  quality. 

"  In  regard  to  the  quantity  of  chloride  in 
the  albumen,  it  is  admitted  that  its  increase, 
within  certain  limits,  can  add  brilliancy  to 
the  prints.  But  beyond  these  limits  there 
would  simply  be  a  useless  loss  of  the  nitrate 
of  silver.  If  a  silver  bath  of  14  to  16  per 
cent,  gives  finer  prints  than  one  of  10  per 
cent.,  this  is  due  rather  to  the  influence  of 
the  free  nitrate  of  silver  than  to  the  increase 
of  the  molecules  of  chloride  of  silver,  which 
may  be  obtained  in  equal  quantity  with  a 
much  weaker  bath." 

Paste  fob  Silvering. — Take 

Chloride  of  Silver,   .         .       60  grammes. 
Bitartrate  of  Potash,        .     200         " 
Sea  Salt,  .         .         .         .400         " 
Water,      .        .        .100  to  130        " 

Bub  up  very  fine,  so  as  to  form  a  paste  to 
be  used  by  diluting  with  water,  and  apply- 
ing with  a  brush. — Munde  de  la  Science. 

Photographing  Sick  Persons. — It  is 
stated  that  most  of  the  French  hospitals 
have  now  a  photographic  studio  attached  to 
the  premises  for  photographing  the  patients 
at  different  times.  The  rapid  dry-plate 
process  is  employed  for  this  purpose,  and 
there  has  been  devised  an  electrically  opened 
camera,  which  is  found  very  useful  in  ob- 
taining a  series  of  views  in  rapid  succession. 
Certain  classes  of  patients  are  photograpned 
on  their  entry  into  the  hospital,  and  at  regu- 
lar intervals  thereafter.  In  cases  of  hysteria, 
for  example,  it  is  said  to  be  interesting  to 
note  the  original  contractions  and  compare 
them  with  succeeding  ones,  the  photographs 
being  all  placed  in  an  album  for  study  of 
the  disease,  and  for  comparison  with  others 
taken  from  other  patients.  In  this  simple 
and  convenient  way  the  leading  features  of 
the  ailment  are  made  recognizable.  The 
new  printing  processes  also  enable  these 
photographs  to  be  copied  and  distributed  to 
other  hospitals  and  medical  men. 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


113 


SOCIETY  GOSSIP. 

Photographic  Society  of  Philadel- 
phia.— Minutes  of  the  regular  meeting, 
held  Wednesday  evening,  March  4,  1885, 
the  President,  Mr.  Joseph  W.  Bates,  in  the 
Chair. 

The  minutes  of  the  last  regular  meeting 
were  read  and  accepted. 

The  Secretary  reported  that  the  Scovill 
Manufacturing  Company  had  presented  the 
Society  with  copies  of  the  British  Journal 
Almanac  and  of  the  Year  Book  of  Photog- 
raphy for  1885,  and  also  Vol.  14  of  the 
Photographic  Times.  Also,  that  Mr.  Ed- 
ward L.  Wilson  had  presented  a  copy  of 
Photographic  Mosaics  for  1885.  On  motion 
a  vote  of  thanks  was  passed  for  the  dona- 
tions. 

A  report  favoring  the  holding  of  an  ex- 
hibition of  photographic  prints  during  the 
fall  or  winter  of  1885-6  was  submitted,  and 
a  committee  appointed  to  make  all  neces- 
sarj'  arrangements  for  holding  such  an  ex- 
hibition. 

The  Lantern  Exhibition  Committee  re- 
ported that  an  exhibition  had  been  given 
on  the  evening  of  February  11th  at  the 
Franklin  Institute.  One  hundred  and 
sixty-two  slides,  selected  from  the  work  of 
forty-two  members,  had  been  shown.  The 
exhibition  had  been  fairly  representative  of 
the  work  of  the  members.  A  second  ex- 
hibition was  in  contemplation,  to  be  held 
early  in  April. 

Dr.  Morris  J.  Lewis  and  Mr  Edgar  W. 
Earle  were  elected  active  members  of  the 
Society. 

The  Charter  and  By-Laws,  offered  at  the 
last  meeting,  with  a  view  to  the  incorpora- 
tion of  the  Society,  were  taken  up  for  con- 
sideration. The  form  for  the  proposed 
charter  was  duly  approved  by  the  Society, 
and  the  committee,  together  with  the  officers 
of  the  Society,  were  directed  to  make  ap- 
plication, in  proper  form,  for  a  charter  of 
incorporation.  The  proposed  new  by-laws 
were  then  considered  and  formally  adopted 
by  the  Society. 

Mr.  Browne,  on  behalf  of  Mr.  Smith, 
handed  to  the  Society  a  framed  copy  of  the 
latter's  picture,  called  "Feeding  Dolly,"  a 
very   successful   example   of  indoor   drop- 


shutter  work.  A  vote  of  thanks  was  passed 
for  the  same. 

A  question  in  the  box  asked  :  "  What  is 
the  relative  strength  of  a  saturated  solution 
of  carbonate  of  soda  (NaC03),  and  con- 
centrated ammonia  (NH4HO),  specific 
gravity  26  ? 

The  meaning  of  the  question  was  con- 
sidered indefinite.  The  strength  of  a  satu- 
rated solution  of  carbonate  of  soda  would 
vary  according  to  the  temperature,  though 
it  is  generally  understood  that  60°  is  the 
standard  temperature  for  such  comparisons. 
The  specific  gravity  of  concentrated  am- 
monia is  .9,  not  .26.  The  querist  is  re- 
ferred to  an  article  in  the  British  Journal 
Almanac  for  1885,  on  "Alkaline  Develop- 
ment," which  would  probably  give  the  de- 
sired information. 

Mr.  Bell  showed  some  prints  illustrative 
of  the  subject  of  albumen  stripping  from 
paper  caused  by  cold  weather. 

A  print  shown,  on  paper  sensitized  on  a 
very  cold  day,  had  been  given  the  usual 
preliminary  washing,  and  was  then  im- 
mersed in  salt  and  water,  to  redden  it  pre- 
paratory to  toning.  The  effect  had  been 
to  strip  the  albumen  entirely  from  the 
paper,  so  that  it  looked  like  a  plain  paper 
print.  There  had  been  no  stripping  up  to 
this  time.  The  difficulty  was  obviated  by 
adding  to  the  sensitizing  bath  (which  was 
a  neutral  one)  a  small  quantity  of  alum. 
Another  print  on  the  same  paper,  sensitized 
in  the  same  bath  after  the  addition  of  the 
alum,  was  entirely  free  from  the  trouble. 

Mr.  Walmsley  showed  a  "finder,"  or 
"view  adjuster,"  ingeniously  arranged  so 
that  it  could  be  instantly  altered  for  either 
horizontal  or  vertical  pictures,  by  a  lever 
which  turned  the  rectangular  opening,  in- 
dicating the  field  covered  by  the  camera, 
from  a  horizontal  to  an  upright  position,  or 
vice  versa. 

Mr.  Edge  showed  an  exposing  shutter, 
invented  by  Mr.  Jarvis,  of  Chicago,  as  de- 
scribed by  Mr.  F.  H.  Davies  in  the  British 
Journal  Almanac  for  1885.  In  compact 
form  it  was  arranged  in  a  simple  manner 
for  giving  greater  exposure  to  the  fore- 
ground than  to  the  upper  part  of  the  pict- 
ure. By  means  of  a  rubber  band  the  slide 
was  thrown  upwards,  beginning  the  expo- 


8 


114 


THE    PHILADELPHIA    PHOTOGRAPHER. 


sure  at  the  bottom  first,  and  after  ascending 
sufficiently  to  uncover  the  lens,  it  fell  by  its 
own  weight,  slightly  aided  by  a  light  band, 
until  the  lens  was  covered  again. 

A  number  of  good  pictures  were  shown 
by  Messrs.  Edge,  Cauffmann,  and  Keichner, 
also  some  lantern  slides  by  Mr.  Wood  and 
others. 

Mr.  Carbutt,  after  adjournment  for  the 
purpose,  illustrated  by  some  experiments  on 
the  exposure  and  development  of  gelatino- 
chloride  opal  plates  and  paper.  The  expo- 
sure was  quickly  made  by  the  light  of 
burning  magnesium  ribbon.  Lamp  or 
gaslight  could  also  be  used,  but,  of  course, 
required  much  longer  exposure.  The  de- 
velopment was  then  proceeded  with,  to  the 
great  interest  of  the  members.  The  tones  ob- 
tained varied  according  to  the  length  of  ex- 
posure given,  great  latitude  being  allowable 
in  this  respect.  Long  exposures  gave  warm, 
reddish  tones,  but  required  a  more  dilute 
developer,  liberally  restrained.  The  opal 
or  paper  prints  could  be  toned  to  the  same 
colors  as  albumen  prints  between  develop- 
ing and  fixing,  but  should  be  developed 
rather  red  for  this  purpose.  A  combined 
toning  and  fixing  bath  was  recommended. 

Forty-eight  members  and  five  visitors 
present. 

EOBERT   S.    KeDFIELD, 

Secretary. 

The  Kochester  Photographic  Asso- 
ciation.— At  a  meeting  held  February  9th, 
the  following  questions  were  discussed  : 

Question  1st.  Does  varnishing  a  dry  plate 
negative  facilitate  printing  ? 

Question  2d.  When  is  the  proper  time  to 
spot  prints,  before  or  after  burnishing  ? 

Question  3d.  What  is  the  best  lubricator 
for  photographic  prints,  and  how  should  it 
be  properly  applied  ? 

Mr.  Pomeroy  said,  in  answer  to  the  first 
question,  that,  as  far  as  his  experience  had 
gone,  it  did  not  facilitate  printing  to  varnish 
a  dry-plate  negative  ;  it  is  a  surface  to  pro- 
tect the  film,  and  it  certainly  would  not 
facilitate  the  printing,  as  it  would  not  make 
the  negative  print  more  rapidly  ;  it  is  a  very 
thin  coating.  He  had  never  seen  any  var- 
nish so  transparent  that  it  would  not  hinder 
the  rays  of  light  passing  through  it  to  a 
certain  extent. 


Mr.  Lee  thought  there  could  be  no  ques- 
tion about  it,  as  it  is  only  another  medium 
for  the  light  to  go  through. 

Mr.  Knapp  stated  that,  in  his  opinion, 
the  varnish  would  make  a  wet  plate  print 
quicker. 

Mr.  Larned  said  that  varnish,  to  a  cer- 
tain extent,  reduced  the  negative. 

Mr.  Knapp  asked  if  a  negative  was  var- 
nished in  spots  would  it  print  in  spots? 

Mr.  Lee  thought  that  would  be  a  good 
test,  for  if  the  spot  is  lighter  or  darker  than 
any  other  part  of  the  print,  that  would  be 
a  test. 

Mr.  Larned  said  he  had  seen  a  negative 
where  a  light  line  in  the  background  had 
been  perfectly  retouched  dry,  and  yet  would 
print  light  after  varnishing ;  it  seemed  to 
him  as  if  the  varnish  reduced  the  negative. 

Mr.  Lee  said  it  was  possible  that  when 
the  varnish  is  first  put  on  the  negative  may 
appear  to  be  reduced,  but  when  it  dried  in 
it  would  be  found  different. 

Mr.  Knapp  said  his  experience  was  just- 
the  reverse ;  that  he  retouched  his  nega- 
tives before  varnishing  them. 

Mr.  Fox  remarked,  in  reply  to  the  second 
question,  there  will  be  more  or  less  spots 
come  on  a  negative.  He  thought  the  spots 
should  be  removed  before  burnishing.  He 
had  had  very  good  success  in  doing  so, 
and  had  never  had  the  least  trouble  with 
spots  showing  after  burnishing,  if  they  had 
been  well  touched  out  before  burnishing. 

Mr.  Lee  thought  Mr.  Fox's  theory  cor- 
rect, that  the  spots  should  be  removed  be- 
fore burnishing. 

Mr.  Larned,  in  answer  to  the  third  ques- 
tion, stated  that,  in  his  experience,  dry 
Castile  soap,  applied  with  a  Canton-flannel 
pad,  had  been  found  to  be  the  best  lubricator. 
A  great  many  recommended  using  it  in 
liquid  form,  but  it  tinted  cards.  He  thought 
it  liable  to  show  streaks  on  the  edges  of  the 
print,  unless  care  was  exercised  in  apply- 
ing it. 

Mr.  Fox  asked  Mr.  Larned  if  he  rubbed 
the  card  that  was  to  be  copied  ? 

Mr.  Larned  replied  that  he  did,  and  that 
dragging  on  the  edges  of  the  card  was 
thereby  avoided. 

Mr.  Knapp  thought  that  depended  upon 
whether  the  print  was  dry  or  not. 


THE  PHILADELPHIA  PHOTOGEAPHEE. 


115 


Mr.  Lamed  said  care  should  be  taken  in 
the  amount  of  soap  used,  how  it  was  ap- 
plied, and  the  heat  of  the  burnisher. 

Mr.  Lee  said  the  most  difficult  kinds  of 
mounts  to  burnish  are  those  called  "bottle 
green."  He  had  seen  a  burnisher  so  hot 
that  it  would  drag  a  bottle-green  mount 
every  time,  while  an  ordinary  one  would 
burnish  in  good  shape  with  the  same  de- 
gree of  heat.  He  thought  there  is  more 
pigment  in  the  bottle-green  mount  than  in 
the  primrose  or  light-colored  ones. 

Meeting  adjourned. 

Societt  of  Amateur  Photographers 
of  New  York. — A  special  meeting  of  this 
Society,  devoted  entirely  to  the  exhibition 
of  lantern  slides,  was  held  at  their  rooms, 
1260  Broadway,  on  Tuesday  evening,  Feb- 
ruary 24th,  at  eight  o'clock. 

The  new  lantern  constructed  for  the  So- 
ciety was  used  for  the  first  time,  and  gave, 
a  large  and  well-illumined  screen.  This 
lantern  contains  the  6J  "  Eoss  Condenser," 
made  to  the  order  of  the  late  Dr.  I.  I. 
Hays,  the  Arctic  explorer,  and  purchased 
by  the  Society  from  Mr.  E.  B.  Kockwood. 
The  front  portion  of  the  lantern  carrying 
the  objective  is  made  with  bellows  body, 
and  so  arranged  that  any  lens  can  be  used 
as  on  a  camera.  The  body  is  of  Eussia 
iron.  A  "  mixed  "  jet  is  used,  which  is,  of 
course,  adjustable  as  to  distance  and  light 
relative  to  the  condenser.  The  whole  is 
on  a  neat  walnut  stand  supported  by  brass 
pillars,  and  is  adjustable  by  levelling  screws. 
The  design  of  the  lantern  was  made  by  Mr. 
Beach  ;  the  bellows  front  was  made  by  the 
Scovill  Manufacturing  Company,  and  the 
jet,  brass-work,  etc.,  was  furnished  by  Chas. 
Bessler,  and  the  Eussia  iron  by  Shaw  & 
Bailey.  The  lantern  is  so  arranged  that 
4  by  5  and  5  by  8  plates  can  be  inserted  in 
addition  to  the  regular  lantern  size. 

The  President  announced  the  subjects 
and  makers  of  the  slides  as  they  appeared 
upon  the  screen,  and  Mr.  H.  V.  Parsell,  Jr., 
manipulated  the  lantern. 

A  large  number  of  slides  sent  by  the 
Cincinnati  Camera  Club  were  first  shown. 
These  comprised  views  of  steamboats  and 
scenery  on  the  Mississippi  and  Ohio  Eivers, 
views  in  Cincinnati  during  the  great  floods, 


and  in  the  vicinity  of  the  city  under  more 
favorable  conditions.  Several  slides  by 
Mr.  Bullock  were  noticeable  from  the  fact 
that  he  himself  was  included  in  the  picture, 
exposure  having  been  effected  by  a  shutter 
on  the  "  Cadett "  principle,  actuated  by 
pressure  of  a  bulb  held  in  the  hand  through 
a  long  and  fine  rubber  tube.  A  view  in  the 
hunting  field,  showing  the  dogs  in  the  act 
of  "  pointing,"  and  the  sportsmen  ready  to 
shoot,  was  particularly  good,  needing  only 
the  birds  to  rise  and  be  shot  to  make  it 
complete.  Other  slides  were  of  scenes 
around  Lake  George. 

These  slides  were  principally  from  nega- 
tives of  Messrs.  E.  J.  Carpenter,  George 
Bullock,  Carson,  Eochester,  and  Frome. 
The  slides  were  divided  between  the  wet 
and  dry  processes. 

The  work  of  members  was  then  intro- 
duced. 

Mr.  Eandall  Spaulding  sent  some  views 
of  Montclair,  also  of  Arizona  and  New 
Mexico. 

Mr.  Neefus  showed  a  dozen  copies  from 
engravings  and  photographs,  which  were 
very  well  done. 

Dr.  P.  H.  Mason,  of  Peekskill,  showed 
views  of  the  State  Camp  at  Peekskill,  and 
a  schooner  opposite  the  Highlands  of  the 
Hudson. 

The  finest  work  of  the  evening  was  un- 
questionably that  of  Mr.  Brush.  His  slides 
included  views  in  the  White  Mountains,  of 
which  one  was  the  "  Notch,"  and  that  of  the 
profile  face  called  "  The  Old  Man  of  the 
Mountain,"  were  especially  excellent; 
several  views  in  Watkins  Glen  and  in  the 
vicinity  of  Portress  Monroe.  Of  these 
latter  the  "  Virginia  Creeper,"  a  country 
cart  "steered"  by  a  sun-bonneted  female, 
and  a  discontented  looking  ox  harnessed 
between  the  shafts,  was  good  in  every  way  ; 
and  another,  entitled  "  A  Dark  Subject," 
was  a  portrait  in  easy  attitude  of  a  "  berry 
black  boy,"  and  called  forth  laughter  and 
applause.  A  superb  slide  of  Trinity  Church, 
Boston,  should  also  be  mentioned. 

Mr.  Brush  also  showed  a  few  reproduc- 
tions from  foreign  slides,  which,  to  all  ap- 
pearances, were  quite  equal  to  the  originals. 
Mr.  Brush  uses  both  the  albumen  and 
chloride    plates.      The    latter    gave    very 


116 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


pleasing  results,  as  also  in  the  case  of  three 
slides  by  the  President.  These  had  a  pecu- 
liarly warm  tone,  illustrating  the  range  of 
color  obtainable  with  these  plates. 

Mr.  Beach  spoke  of  the  ease  with  which 
slides  can  be  produced  on  chloride  plates, 
and  advised  members  to  try  them.  He 
used  the  developer  as  recommended,  only 
diluted  with  an  equal  amount  of  water. 

Mr.  Mapes  sent  a  few  views  of  scenes  on 
the  Long  Island  Shore,  and  a  good  shutter 
picture  of  a  lawn-tennis  game. 

Some  slides  by  Mr.  Cullen,  of  yachts 
racing,  elicited  applause. 

A  set  of  views  of  the  New  Orleans  Expo- 
sition, made  by  E.  L.  Wilson,  of  Phila- 
delphia, was  then  shown,  and  the  entertain- 
ment was  then  brought  to  a  close,  owing 
to  the  lateness  of  the  hour. 

Over  two  hundred  slides  had  been  shown, 
and  the  supply  was  then  not  exhausted. 
The  slides  left  over  will  doubtless  furnish 
material  for  a  future  meeting. 

Credit  is  particularly  due  to  Mr.  Beach 
for  his  energy  in  getting  the  lantern  com- 
pleted in  time  to  be  used,  and  to  him  and 
Messrs.  Parsell  and  Robertson,  of  the  Com- 
mittee of  Arrangements,  for  securing  and 
arranging  the  slides. 

There  was  a  large  sprinkling  of  ladies  in 
the  audience,  and  it  was  the  universal  ver- 
dict that  the  first  exclusively  lantern  meet- 
ing was  a  success  in  every  way. 

Society  of  Amateur  Photographers 
op  New  York. — Eeport  of  the  regular 
meeting  of  March  10,  1885.  President 
Beach  in  the  Chair. 

Messrs.  James  C.  Wagstaff,  J.  H.  Maghee, 
Edward  M.  Franklin,  C.  C.  Roumage,  Jr., 
and  George  Boynton  were  duly  elected 
members  of  the  Society. 

The  Secretary  read  the  following  reports  : 

The  Committee  on  Books  and  Current 
Publications  acknowledged  the  receipt 
of  WalzVs  Monthly,  from  Richard  Walzl  ; 
American  Carbon  Manual,  by  E.  L. 
Wilson  ;  The  Tannin  Process,  by  C.  Rus- 
sell ;  A  Popular  Treatise  on  Photography, 
by  W.  H.  Thorn thwaite ;  Photographic 
Manipulation,  by  S.  R.  Divine;  The 
Silver  Sunbeam,  by  J.  Towler,  fifth  edi- 
tion, from  Mr.  F.  C.    Beach;    The  Chem- 


istry of  Light  and  Photography,  by  H. 
Vogel,  from  Mr.  C.  W.  Canfield ;  British 
Journal  Almanac  and  Photo  News  Year 
Book,  from  the  Photographic  Times'  pub- 
lishers ;  Manuel  de  Touriste  Photographe, 
by  Leon  Vidal,  from  Mr.  Thos.  Bolas, 
through  Mr.  F.  C.  Beach ;  also  the  St. 
Louis  Photographer.  Jos.  S.  Rich, 

Committee. 
REPORT  OF  COMMITTEE  ON  DRY  PLATES. 

Mr.  President  :  During  the  past  month 
your  Committe  have  received  one  package 
of  plates  from  H.  F.  Neidhart,  Chicago,  111. ; 
three  packages  from  the  St.  Louis  Dry  Plate 
Company,  and  two  packages  from  the  Cra- 
mer Dry  Plate  Works. 

They  have  partially  tested  twenty-two 
different  brands  manufactured  by  twenty 
different  makers.  The  number  of  tests  made 
was  one  hundred  and  nineteen:  thirty- 
two  of  which  were  made  by  sunlight, 
twenty-four  by  Warnerke's  luminous  tab- 
let, and  sixty-three  by  the  kerosene  lamp 
and  radiometer.  The  kerosene  used  in 
these  tests  is  150  degrees  fire  test.  A  board 
of  officers  appointed  by  the  Secretary  of 
War  in  1879,  of  |  which  one  of  your  Com- 
mittee was  a  member,  made  a  careful  and 
protracted  investigation  of  various  oils  by 
different  tests  and  experiments.  The  oil 
now  used  by  your  Committee  is  the  oil 
recommended  by  that  board,  and  now  used 
throughout  the  army. 

As  these  tests  are  still  incomplete  it  is 
hardly  practicable  or  just  to  report  partial 
results,  but  any  member  of  the  Society  will 
find  the  record  of  all  tests  made,  in  the 
dark-room,  which  is  always  open  for  in- 
spection. 

The  Committee  have  plates  from  twenty 
different  manufacturers,  eighteen  of  them 
located  in  the  United  States,  one  in  Eng- 
land, and  one  in  Belgium. 

In  testing  these  plates,  the  developer  re- 
commended u  by  the  maker  of  the  plate  is 
used,  also  a  standard  developer  composed  of 

Water,  ....     1  ounce. 

Dry  Pyro,  ...         .2  grains. 
Carbonate  of  Soda,      .         .     b\     " 
Sulphite  of  Soda,        .         .  11       " 
Carbonate  of  Potash,  .         .     5i     " 
Yellow  Prussiate  of  Potash,     5£     " 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


117 


Among  the  developers  recommended  by 
the  plate-makers,  nine  are  ammonia,  seven 
soda,  six  iron,  two  potash,  and  two  soda 
and  potash.  With  only  two  or  three  ex- 
ceptions we  found  the  standard  developer 
more  powerful  than  those  recommended  by 
the  plate-makers.  In  one  case  where  the 
plate-maker's  developer  showed  fifteen  as 
the  last  number  with  a  Warnerke  screen, 
the  standard  developer  showed  twenty  with 
the  same  exposure. 

Apparently,  the  yellow  prussiate  of  potash 
in  the  standard  developer  allows  us  to  use 
less  pyro.  In  one  case  two  grains  of  pyro 
in  the  standard  developer  gave  as  good  re- 
sults as  five  grains  in  the  maker's. 

We  find  the  standard  developer  works 
well  with  every  plate  so  far  tested,  although 
it  requires  a  bromide  on  some  of  the  extra- 
sensitive  plates  to  prevent  fogging. 

Some  use  the  very  uncertain  and  inde- 
terminate saturated  "solution,"  while  the 
majority  neglect  to  state  whether  their  salts 
are  to  be  used  dry,  granulated,  or  crystal- 
lized. As  some  of  these  crystals  contain 
over  sixty  per  cent,  of  water,  it  would  seem 
that  a  developer  made  with  them  would  be 
much  weaker  than,  one  made  with  granules. 
It  is  claimed  by  some,  however,  that  crystals 
are  as  potent  as  granules  weight  for  weight. 
Your  Committee  hope  to  report  fully  upon 
this  point  at  a  future  meeting. 

The  formula  for  the  soda  solution  accom- 
panying the  Seed  plates  is  as  follows  : 


Water, 

.     30  ounces 

Carbonate  of  Soda,     . 

.     10      " 

Sulphite  of  Soda, 

.     10      " 

At  a  temperature  of  59  degrees  30  ounces 
of  pure  water  will  dissolve  about  19  ounces 
of  carbonate  of  soda.  The  same  quantity 
of  pure  water  will  dissolve  about  7J  ounces 
of  sulphite  of  soda.  In  the  above  formula, 
if  the  carbonate  is  first  dissolved  in  the 
water,  we  will  have  a  half-saturated  solu- 
tion, and  upon  adding  10  ounces  of  sulphite 
more  than  half  of  it  will  be  undissolved, 
and,  therefore,  wasted.  If,  on  the  other 
hand,  the  sulphite  is  first  added  to  the 
water,  we  will  have  a  saturated  solution 
and  2J  ounces  undissolved.  Just  how 
much  carbonate  this  saturated  solution  of 
sulphite    will   dissolve    requires   a    careful 


chemical  analysis  to  determine.  This  for- 
mula gives  a  wasteful  solution  of  variable 
and  unknown  strength. 

The  improper  packing  of  plates  is  the 
cause  of  serious  expense  and  annoyance  to 
amateurs. 

In  most  cases  a  pair  of  plates  is  placed 
face  to  face,  separated  by  a  pasteboard  mat. 
We  have  tested  a  number  of  these  mats, 
and  also  the  boxes  in  which  the  plates  were 
packed,  and  in  every  case  found  them 
heavily  loaded  with  hypo.  The  effect  upon 
the  plate  in  some  cases  is  most  serious.  In 
one  case  it  had  fogged  seven-eighths  of  the 
plate,  and  caused  such  a  deposit  of  metallic 
silver  that  the  negatives  looked  like  fine 
daguerrotypes. 

This  evil  can  be  remedied,  possibly  cured, 
by  varnishing  the  mats  after  they  are  cut, 
and  also  varnishing  the  inside  of  the  boxes. 
In  addition,  the  plates  should  be  wrapped 
in  "  needle  "  paper,  which  is  entirely  free 
from  hypo. 

We  feel  confident  that  the  majority  of 
our  plate-makers  do  not  realize  the  injury 
to  their  plates  and  reputations  occasioned 
by  their  packing  boxes. 

Kespectfully, 
H.  J.  Newton,  Chairman, 
Dr.  John  H.  Janewat, 
D.  H.  Walkee, 
C.  W.  Dean,  Secretary, 

Committee  on  Dry  Plates. 

A  bottle  of  the  Seed  developer,  showing 
one-third  of  the  salts  undissolved  in  the 
bottom,  and  a  sample  plate  spoken  of  in  the 
report,  were  passed  around  for  examination. 
The  form  in  which  the  Committee  on 
Dry  Plates  have  stated  the  formula  for  the 
standard  developer  does  not  give  particulars 
as  to  how  the  developer  is  prepared.  We 
here  give  the  correct  proportions  for  mix- 
ing. The  chemicals  are  dissolved  in  the 
following  order: 

No.  1. 
Water,         .         .         .         .32  ounces. 
Yellow  Prussiate  of  Potash 

(480  grains  to  ounce),      .       3      " 
Carbonate  of  Soda,  dry  or 
granulated    (480    grains 
to  ounce),        .  .  3      " 

Carbonate    of   Potash   (480 

grains  to  ounce),      .  3      " 


118 


THE    PHILADELPHIA    PHOTOGrKAPHEK. 


No.  2. 

Water,         .         .         .         .32  ounces. 
Sulphite  of  Soda  (480  grains 

to  ounce),         .  3      " 

For  ordinary  use,  on  a  properly  exposed 
plate,  \  ounce  of  No.  1  is  added  to  If  ounces 
of  No.  2,  and,  lastly,  4  grains  of  dry  hypo. 
If  the  plate  is  over-exposed,  the  quantity  of 
!No.  1  may  be  diminished  to  a  few  drops, 
and  bromide  added.  If  under-exposed,  No. 
1  may  be  increased  four  times  without 
danger  of  spoiling  the  plate. 

The  President:  I  have  a  sample  of  pyro 
here  which  I  presume  a  number  of  you 
have  already  seen.  It  is  made  by  com- 
pressing the  pyro  into  tablets.  The  amount 
in  each  tablet  is  exactly  two  grains.  I  have 
tried  it,  and  I  find  that  it  works  very  nicely. 
It  is  a  great  convenience  for  those  who 
travel  to  have  the  pyro  in  this  form.  It  is 
sold  under  the  name  of  "  Pelletone. " 

I  have  received  a  letter  from  Mr.  Henry 
Smith,  of  London,  in  regard  to  the  interna- 
tional exchange  of  lantern  slides,  and  it  may 
be  of  interest  to  you  to  state  that  he  has  made 
a  proposition  that  negatives  and  positives 
be  made  of  such  a  size  that  they  can  be  used 
in  contact  printing.  That  would  be  about 
3}  by  4J,  and  he  proposes  to  limit  the  num- 
ber of  members  to  twenty-five. 

I  think  all  members  of  this  Society,  espe- 
pecially  those  who  wish  to  join,  should  have 
the  privilege.  Two  methods  of  distribution 
are  proposed.  One  is  to  divide  up  the  ag- 
gregate number  of  negatives  and  positives 
which  are  received,  and  distribute  them 
among  the  members  who  will  take  the 
copies,  and  after  they  have  taken  the  copies 
of  the  lot  they  will  return  them  to  a  central 
office,  as  you  might  say,  and  from  there  be 
again  redistributed  until  all  have  had  a 
chance  to  copy  them.  Another  plan  is  (in- 
stead of  sending  out  the  negatives  and  posi- 
tives in  lots)  to  keep  them  at  one  place,  and 
for  one  person  to  take,  say,  a  thousand  or 
more  gelatine  plates  of  a  certain  brand  and 
expose  them  to  these  positives  and  nega- 
tives, a  certain  number  being  intended  for 
each  member  of  the  exchange,  then  pack 
them  up  and  send  them  off  to  each  member, 
who  will  then  develop  his  own  transpar- 
encies or  lantern  slides.     I  should   prefer 


that  simply  lantern  slides  be  exchanged, 
with  the  privilege  that  any  member  desir- 
ing to  make  copies  could  keep  them  for  that 
purpose.  That,  I  think,  is  the  most  feasible 
plan.  Mr.  Smith  suggests,  that  allowing 
each  member  to  be  entitled  to  125  exposed 
plates,  it  would,  in  the  aggregate,  amount 
to  a  consumption  cf  3125  plates,  which 
would  be  a  good  thing,  no  doubt,  for  some 
manufacturer  of  dry  plates. 

I  am  also  glad  to  call  your  attention  this 
evening  to  the  presentation  prints,  although 
I  do  not  know  that  we  have  quite  as  many 
as  we  expected  ;  still,  for  the  first  attempt, 
it  makes  a  very  fair  showing.  Judges  have 
been  appointed  to  decide  in  regard  to  the 
prints,  who  are  as  follows  :  Mr.  Abraham 
Bogardus  and  Mr.  Chas.  A.  Needham.  I 
believe  Mr.  Needham  is  present  this  even- 
ing, and  he  will  report  the  award. 

Mr.  C.  A.  Needham  then  read  the  report 
of  the  Judges  on  the  Presentation  Print. 

The  pieces  of  most  merit  were  found  in 
landscape  and  still-life. 

The  picture  which  received  the  presenta- 
tion title  is  "A  Winter  Scene  on  Orange 
Mountain,"  made  by  Mr.  Kandall  Spaul- 
ding,  of  Montclair,  N.  J. 

Dr.  J.  H.  Janeway  exhibited  a  model  of 
an  instantaneous  shutter  which  worked 
with  great  rapidity,  and  remarked  that  any 
amateur  with  a  pocket-knife  and  a  pair  of 
strong  scissors  could  make  a  similar  shutter 
in  an  evening  at  a  very  trifling  cost,  which 
would  answer  almost  all  purposes  required 
of  a  shutter.  The  only  expense  incurred 
for  this  shutter  was  for  the  two  spring 
hinges  taken  from  tobacco  boxes,  they  cost- 
ing fifty  cents.  A  piece  of  hard  wood,  4| 
inches  long,  3J  inches  wide,  and  \  inch 
thick,  constituted  the  base,  upon  which 
were  fastened  at  each  edge  strips  4|  inches 
long,  \  inch  wide,  and  f  inch  thick,  grooved 
below  to  allow  the  drop  to  run,  and  above 
to  receive  the  doors  ;  cross-pieces  fitted  to 
these  strips,  one  at  the  bottom,  \  inch  wide, 
and  another  1\  inches  above  the  bottom  of 
the  same  width,  both  grooved  to  receive  the 
door.  On  the  bottom  cross-piece  was  fas- 
tened a  spring  with  a  catch  to  bold  the 
doors  closed,  which  can  be  worked  either 
with  the  finger  or  pneumatic  drop.  On  the 
upper  cross-bar  were  placed   two   pins   to 


THE   PHILADELPHIA    PHOTOGrEAPHEE. 


119 


hold  the  rubber  band  used  to  accelerate  the 
drop.  The  doors  were  2J  by  If  inches  each, 
made  entirely  light-tight  by  a  thin  piece  of 
pasteboard  upon  the  edge  of  one,  near  the 
top,  and  on  the  inner  side  of  each  door  was 
fastened  a  pin  to  hold  the  drop  when  in  po- 
sition. The  doors  were  opened  by  the 
spring-hinge  before  mentioned,  when  the 
catch  was  removed,  and  thus  released  the 
drop.  The  drop  is  a  piece  of  zinc  4  inches 
long  by  2f  inches  wide,  rounded  at  the  top, 
with  a  hook  fastened  near  the  top  to  receive 
the  rubber  band.  A  wooden  pill-box,  with 
its  bottom  punched  out,  was  glued  to  the 
back  to  receive  the  lens. 

The  President :  "We  will  now  undertake 
to  show  the  merits  of  the  rapid  printing 
process.  I  have  a  sample  chloride  print 
here  which  was  sent  from  London.  [It 
was  passed  around.]  I  desire  to  make  a 
few  remarks  in  regard  to  this  paper,  and  at 
the  close  I  shall  have  the  pleasure  of  intro- 
ducing to  you  Mr.  Carbutt,  of  Philadelphia 
who,  with  myself,  will  undertake  a  series 
of  experiments  with  the  paper. 

Mr.  Beach  desired  to  call  attention  more 
particularly  to  the  qualities  of  the  paper, 
the  advantages  it  affords  the  amateur,  and 
how  easily  it  may  be  prepared. 

Unlike  argentic  gelatino-bromide  paper, 
this  paper  may  be  toned  to  any  desired 
color  after  development,  which,  in  the 
opinion  of  some,  is  a  great  advantage.  It 
does  not  fog  during  development ;  a  bright 
yellow  light  can  be  used  during  the  various 
manipulations,  and  the  image  stands  out 
from  the  paper  in  better  relief  than  is  ordi- 
narily the  case  with  bromide  paper.  It 
seems  to  be  a  pleasing  medium  between  the 
extremely  rapid  bromide  paper  and  the 
ordinary  ready  sensitized  albumenized  sil- 
vered paper. 

If,  therefore,  we  can  either  make  for 
ourselves,  or  purchase  ready-made,  a  reli- 
able gelatino-chloride  paper  which  shall 
possess  all  the  advantages  of  good  silvered 
albumen  paper,  with  none  of  its  defects, 
something  which  can  be  readily  toned  and 
controlled,  and  be  of  so  great  a  sensitive- 
ness that  sunlight  will  be  unnecessary,  and 
at  the  same  time  keep  good  till  we  want  to 
use  it,  we  shall  have  an  article  which  will 


aid  us  very  materially  and  mark  an  advance 
in  photographic  manipulation. 

Hearing  of  several  favorable  accounts  of 
the  paper,  I  was  led  to  send  for  a  sample, 
and  recently  received  a  few  sheets  from 
Messrs.  Morgan  &  Kidd,  of  Kichmond, 
England,  named  by  them  "  Contact  Print- 
ing Paper,"  and  I  propose  to  experiment 
to-night  with  this,  and  perform  before  you 
the  operation  of  exposing,  toning,  and  fix- 
ing, that  you  may  observe  the  interesting 
changes  which  occur. 

Mr.  Beach  then  entered  into  a  demon- 
stration of  the  working  of  this  paper. 

After  he  finished  the  reading  of  the  paper, 
the  President  remarked :  Having  said  this 
much,  I  will  now  introduce  to  you  Mr. 
Carbutt,  and  we  will  proceed  in  an  informal 
manner  to  make  some  exposures  here  and 
illustrate  the  process. 

Mr.  Carbutt :  Mr.  President  and  gentle- 
men— It  affords  me  much  pleasure  to  be 
present  this  evening  at  the  kind  invitation 
of  your  President,  and  take  part  in  what  is 
to  me  the  most  fascinating  part  of  photog- 
raphy, whether  it  be  negatives  or  positives. 
Not  only  am  I  to  assist  the  President  in  the 
demonstration  of  the  merits  of  the  paper, 
but  also  in  some  of  my  own  manufacture,  as 
I  believe  I  am  the  first  to  undertake  it  in 
this  country.  (Applause.)  Making  positive 
prints  by  the  chloride  of  silver  development 
is  not  new.  It  is  now  over  nineteen  years 
since  the  attempt  was  first  made  to  make  a 
positive  by  gelatino-chloride  paper.  Some 
of  you  were  probably  in  swaddling  clothes 
at  that  time,  as  some  of  the  members  appear 
comparatively  young  men  now,  but  even 
to  many  old  photographers  this  is  taken 
up  as  something  entirely  new,  and  only 
those  who  have  kept  up  with  the  history  of 
photography  know  what  has  been  done  in 
the  past.  A  gentleman,  whose  name  I  do 
not  now  remember — a  man  well  known  in 
London  photographic  circles — once  made 
the  assertion  that  it  was  not  possible  to  de- 
velop a  latent  image  on  chloride  of  silver 
paper.  From  1856  to  1859,  before  I  moved 
to  Chicago,  and  while  I  was  in  Indiana,  I 
remember  I  was  then  making  experiments 
with  chloride  paper,  and  I  was  then  follow- 
ing out  the  idea  suggested  by  the  gentleman 
in  London  who  declared  that  it  was  impos- 


120 


THE    PHILADELPHIA    PHOTOGRAPHER. 


sible  to  develop  a  latent  image  on  chloride 
of  silver  paper.  I  exposed  and  experi- 
mented until  a  faint  trace  of  an  image  was 
seen,  and  I  £hen  finished  the  picture  with 
gallic  acid  slightly  acidified.  There  is  not 
the  slightest  trace  of  an  image  visible  after 
the  exposure  is  made  on  the  gelatino-chloride 
paper  now  made  use  of,  and  by  the  advance- 
ment in  the  knowledge  of  photography,  it  is 
possible  to  develop  a  latent  image  on  chloride 
of  silver  by  the  ferrous  oxalate  or  pyro  de- 
velopers. So  that  to-night  we  can  demon- 
strate to  you  that  a  latent  image  on  chloride 
of  silver  paper  is  developable,  and  in  order 
that  we  may  have  time,  we  will  at  once  go 
at  the  practical  part  of  it.  Either  daylight, 
gaslight,  or  the  more  actinic  light  of  magne- 
sium ribbon  can  be  used,  according  as  is 
most  convenient.  I  am  myself  using  mag- 
nesium light. 

No  questions  being  asked,  the  lights  were 
lowered  and  the  experiments  begun. 

Mr.  Carbutt,  taking  an  inch  and  a  half  of 
magnesium  ribbon,  held  it  about  onefoot  away 
from  a  printing  frame  in  which  was  a  nega- 
tive and  a  sheet  of  his  chloride  paper,  while 
the  President  had  in  his  printing  frame  a 
sheet  of  Morgan  &  Kidd's  chloride  paper 
four  inches  away.  With  a  spirit  lamp  the 
magnesium  was  lighted  and  the  exposure 
made.  Development  then  followed,  Mr. 
Carbutt's  print  coming  up  rapid  and  turn- 
ing to  a  reddish-brown  color,  which  was  at- 
tributed to  over-exposure.  Mr.  Beach's 
print  proceeded  slowly  and  was  slightly 
under-exposed,  but  by  developing  for  ten 
minutes  the  picture  was  well  brought  out. 

In  the  meantime  Mr.  Carbutt  had  made 
several  exposures  and  obtained  some  inter- 
esting effects.  "Without  toning  he  produced 
clear  black  and  white  prints,  which  were 
much  admired.  He  claimed  that  it  was  ad- 
visible,  if  possible,  to  do  away  with  toning 
and  produce  a  print  of  the  proper  tint  at 
once  by  development. 

Mr.  Beach  then  toned  his  print,  using 
Morgan  &  Kidd's  formula;  the  manipula- 
tion was  conducted  under  a  bright  gas- 
light, and  was  watched  with  interest  by 
many  members.  After  fixing  in  a  hypo 
bath  much  stronger  than  was  recommended, 
the  print  assumed  a  velvety  black,  and  was 


much  more  brilliant  than  the  usual  gelatino- 
bromide  print. 

Altogether  the  demonstration  was  quite 
successful  and  instructive,  many  members 
being  impressed  with  the  value  and  utility 
of  the  new  process. 

At  the  close  of  the  meeting  the  President 
extended  the  thanks  of  the  Society  to  Mr. 
Carbutt  for  his  interesting  demonstration. 


PHOTOGRAPHY  AND  ART 
ILLUSTRATION. 

Kecentlt  I  came  across  an  old  book 
published  in  this  country  at  the  beginning 
of  the  present  century.  The  title-page 
announced  the  fact  that  it  was  finely  illus- 
trated. It  was,  therefore,  with  eagerness 
that  I  turned  over  the  pages  to  see  the  prom- 
ised treat  of  pictorial  beauties.  I  could 
not  resist  a  smile  at  the  rude,  quaint,  and 
almost  caricature  representations.  They 
were  wood-cuts,  and  the  lines  were  coarse 
and  the  lights  and  shadows  great  masses  of 
black  and  white.  Yet,  no  doubt,  this  book, 
as  I  was  led  to  judge  from  its  excellent  and 
really  beautiful  binding,  was  regarded  in  its 
day  and  generation  as  a  treasure,  and  com- 
manded an  extra  price  for  its  illustrations. 

No  doubt,  wood  engravers  were  scarce  in 
the  early  days  of  our  Bepublic,  and  the 
general  public  was  not  very  exacting  in  its 
demands  for  artistic  excellency.  In  truth, 
it  is  not  much  more  than  a  century  since  the 
first  illustrated  serial  made  its  appearance 
in  the  metropolis  of  London.  It  created  a 
sensation  ;  the  press  hailed  it  with  enthusi- 
asm ;  and  it  became  all  the  talk  of  town 
and  country. 

Its  success  brought  other  serial  illustrated 
works  into  the  field,  the  progenitors  of  that 
host  of  illustrated  periodicals,  now  the 
source  of  knowledge  and  the  delight  of 
millions. 

Now-a-days  we  can  open  scarcely  a  book, 
even  of  the  cheapest  character,  without 
finding  illustrations  which  fifty  years  ago 
would  have  passed  current  for  excellent  art- 
istic work  and  have  been  considered  worthy 
of  a  place  in  some  gentleman's  drawing- 
room.  Even  our  primers  and  school-books 
are  enlivened  with  really  choice  and  excel- 
lent cuts,  so  that  school  children  have  be- 


THE   PHILADELPHIA    PHOTOGEAPHEE. 


121 


come  quite  connoisseurs  in  judging  of  art 
illustration. 

We  need  not  remind  anyone  of  the  superb 
illustrations  found  in  the  higher  class  of 
periodicals,  or  of  those  beautiful  reproduc- 
tions of  works  of  art  of  the  great  masters 
in  painting  and  etching.  It  is  no  exaggera- 
tion to  say  that  copies  from  celebrated  works 
which  twenty  years  ago  would  have  taxed 
the  ability  of  the  best  engravers  to  produce 
and  have  commanded  hundreds  of  dollars 
in  price,  may  now  be  bought  for  almost  as 
many  cents,  and  what  is  more  marvellous, 
they  translate  the  character  and  individu- 
ality of  the  originals  more  faithfully  than 
the  works  which  demanded  so  much  skill 
and  labor. 

Now  to  what  is  all  this  due?  In  one 
word,  to  photography.  By  her  magic  touch 
the  lines  of  beauty  have  been  traced,  and 
the  thoughts  and  imaginations  of  genius 
have  been  removed  from  the  confined 
sphere  of  a  favored  few  and  made  the  com- 
mon delight  of  all.  Emphatically,  photog- 
raphy is  a  most  helpful  handmaid  of  art. 

From  the  first  discovery  the  value  of  its 
application  to  illustration  was  recognized 
and  appreciated. 

In  the  correspondence  between  JSTiepce 
and  Daguerre,  the  former  speaks  of  having 
perfected  in  an  important  degree  his  process 
of  engraving  upon  metal  plates.  We  know 
that  the  process  consisted  in  flowing  over  a 
plate  a  coating  of  bitumen  dissolved  in  some 
essential  oil,  allowing  it  to  harden  in  the 
dark  and  then  exposing  it  under  a  print  to 
the  direct  action  of  the  sun.  The  varnish 
is  made  insoluble  by  the  action  of  the  light 
upon  those  portions  where  it  penetrated 
through  the  print  to  the  bitumen,  all  the 
unaffected  parts  can  be  washed  out  with  the 
solvent,  and  as  only  the  insoluble  parts 
remain  upon  the  plates  they  protect  the  sur- 
face of  the  metal  in  those  places  from  the 
action  of  the  acid  used  in  corroding  it. 

This  was  the  first  step  towards  the  great 
processes  of  the  present.  All  honor  to 
Niepce  for  his  discovery. 

Experiment  soon  enlarged  the  knowledge 
of  the  investigators.  It  was  found  that  the 
most  valuable  application  of  photography 
to  reproduction  depends  upon  the  peculiar 
change  induced  by  light  upon  bichromate 


of  potassa  in  connection  with  albumen  or 
gelatine. 

If  an  ordinary  lithographic  stone  be 
covered  with  an  albuminous  solution  mixed 
with  bichromate  of  potassa,  and  if  this 
liquid  be  allowed  to  dry  spontaneously,  the 
albumen,  much  as  it  may  be  altered  in  its 
nature,  is  not  in  its  solubility,  and  a  simple 
washing  in  warm  water  is  sufficient  to  re- 
move from  the  stone  the  greater  part  of  the 
unaltered  matter  which  the  light  has  been 
unable  to  penetrate. 

If  the  surface  thus  prepared  be  exposed  to 
the  action  of  light  through  the  unequally 
transparent  parts  of  a  negative,  a  change 
takes  place  which  is  certainly  not  an  ordi- 
nary coagulation,  and  to  which  the  oxida- 
tion of  the  chromic  acid  doubtless  contributes 
by  rendering  the  albumen  insoluble  and 
causing  it  to  remain  on  the  stone  in  large 
quantities,  the  larger  the  more  intense  the 
exposure  to  the  light  has  been.  Thus 
charged,  the  albumen  resists  water  as  if  it 
were  a  greasy  substance.  In  this  state  it 
readily  absorbs  the  ink  which  does  not 
adhere  to  the  other  parts  of  the  stone  where 
the  light  has  not  acted ;  so  that  if  a  roller 
charged  with  ink  containing  soap,  which 
lithographers  call  transfer  ink,  is  passed  over 
the  stone,  the  ink  adheres  only  to  the  albu- 
minized parts,  coating  them  with  it  in  vary- 
ing proportion  as  in  an  ordinarj'  drawing. 

It  was  noticed  in  this  process,  for  which 
we  are  indebted  to  the  genius  of  M.  Poitevin, 
that  the  gelatinous  coating  of  bichromate  of 
potassa  under  the  action  of  light  lost  the 
property  of  swelling  up,  which  ordinary 
gelatine  possesses,  and  that  the  film  when 
washed  with  water  became  raised  up  in 
those  parts  not  acted  upon  by  light,  while 
the  other  parts  did  not  undergo  any  change. 
Thus,  irregularities  were  produced  upon  the 
stone  corresponding  to  lights  and  shades  in 
the  picture,  so  that  the  electrotyper  was 
enabled  to  prepare  a  metal  plate  suitable  for 
printing  on  an  ordinary  type-press. 

The  celebrated  Albertype  is  based  upon 
the  principle  evolved  by  M.  Poitevin ;  a 
well-polished  glass  plate  is  covered  with 
a  solution  of  gelatine  and  bichromate  of 
ammonia  and  albumen,  which  is  exposed  to 
light  to  make  it  insoluble  in  water.  Upon 
this  another  coating  is  applied,  composed  of 


122 


THE   PHILADELPHIA    PHOTOGEAPHEE. 


gelatine,  isinglass,  bichromate  of  potassa, 
and  a  mixture  of  benzoin  and  tolu  in  alcohol. 
The  prepared  plate  and  a  negative  are  placed 
in  an  ordinary  printing  frame  and  exposed 
to  light.  The  plate  is  then  removed  and 
plunged  in  tepid  water,  by  which  the  solu- 
ble parts  are  dissolved,  the  other  parts  being 
left  in  slight  relief.  When  dry  and  oiled  it 
is  ready  for  inking  with  an  ordinary  litho- 
graphic roller. 

The  heliotype  greatly  resembles  the  Alber- 
type,  and  is  produced  by  pouring  a  hot  solu- 
tion of  gelatine  and  bichromate  of  potassa 
with  chrome  alum,  to  make  it  hard,  upon  a 
plate  of  glass  which  has  been  previously 
washed.  When  dry  the  gelatine  film  is 
stripped  off  and  placed  in  contact  with  a 
reversed  negative  and  submitted  to  light. 
The  film  is  now  attached  to  a  plate  of  metal 
and  the  superfluous  chemicals  washed  out 
with  water,  leaving  upon  the  plate  so  much 
of  the  gelatine  as  carries  the  drawing. 

In  this  condition  it  is  capable  of  yielding 
impressions  from  the  press  in  the  ordinary 
method  of  lithographic  printing,  the  plate 
being  alternately  dampened  with  water  and 
inked.  The  chrome  alum  so  hardens  the 
gelatine  that  it  is  capable  of  resisting  the 
friction  caused  by  the  inking  and  the  pres- 
sure employed. 

The  Woodbury  process  is  named  after  its 
inventor,  Walter  Woodbury,  of  England. 
A  leaf  of  gelatine  containing  slight  coloring 
matter,  such  as  India  ink,  is  rendered  sen- 
sitive by  a  solution  of  bichromate  of  potassa 
in  water. 

The  film  is  then  placed  in  contact  with  a 
negative  and  exposed  in  an  ordinary  print- 
ing frame  to  light.  The  gelatine  leaf  is  now 
removed  to  a  dark  room  and  placed  upon  a 
glass  plate  which  has  been  previously  cov- 
ered with  India-rubber  varnish,  and  then 
immersed  in  a  bath  of  tepid  water. 

The  water  dissolves  the  still  soluble  por- 
tions of  the  gelatine,  the  whites  of  the 
picture,  leaving  the  other  parts  unaffected. 
The  film  is  removed  and  dried,  and  will 
be  found  to  present  a  copy  of  the  negative 
picture,  the  whites  hollowed  out  and  the 
shadows  in  relief.  Two  plates  are  now  em- 
ployed, the  one  of  polished  steel  and  the 
other  of  lead.  The  gelatine  leaf  is  placed 
between  these  two  plates  and  submitted  to 


pressure  in  a  hydraulic  press.  It  will  be 
found  that  the  lead  is  really  more  yielding 
than  the  gelatine,  and  has  received  a  per- 
fect impression  of  the  gelatine  picture  which 
by  the  pressure  is  completely  embedded  in 
the  lead.  What  follows  is  easily  guessed, 
the  lead  impression  is  inked  with  a  compo- 
sition, consisting  of  gelatine  and  India  ink, 
carmine  being  introduced  to  give  a  fine 
tone.  The  ink  is  applied  warm.  An  im- 
pression upon  paper  has  all  the  appearance 
of  a  beautiful  photograph. 

The  beauty  of  Woodburytypes  has  made 
them  especial  favorites  with  lovers  of  art- 
istic prints.  They  unite  all  the  softness  of 
a  photograph  with  the  permanency  of  an 
engraving. 

The  only  objection  to  the  old  Woodbury 
process  is,  not  more  than  a  thousand  copies 
can  be  taken  from  the  lead  without  showing 
marks  of  deterioration.  Mr.  Woodbury's 
latest  improved  process,  the  stannotype  pro- 
cess, obviates  this  difficulty.  In  it  he  dis- 
penses altogether  with  the  hydraulic  press. 
The  printing  is  direct  from  the  gelatine 
mould,  covered  and  protected  by  tinfoil. 
A  positive  is  used  in  printing  instead  of  a 
negative.  A  press  of  peculiar  construction 
is  employed,  and  the  mould  inked  with  a 
special  ink,  and  a  piece  of  prepared  paper 
laid  upon  it  and  the  press  closed.  The 
prints  when  dry  are  laid  in  alum  and  after- 
wards rinsed  in  cold  water. 

There  are  certain  processes  effected  by  a 
reticulation  of  the  film  of  the  bichromated 
gelatine.  The  best  results  in  this  direction 
are  those  achieved  by  Mr.  Frederick  Ives, 
of  Philadelphia. 

In  reply  to  a  letter  of  James  Shirley 
Hodson,  author  of  an  excellent  work  on  the 
subject  of  "Art  Illustration,"  Mr.  Ives  de- 
scribes his  work  as  follows  : 

"My  invention  may  be  best  described  as 
a  photo-mechanical  process  for  producing 
direct  from  nature  or  from  any  object  which 
may  be  photographed,  a  pure  line  and 
stipple  picture,  in  which  the  shades  of  the 
original  are  represented  by  black  lines  or 
dots  of  varying  thickness  on  a  pure  white 
ground,  and  which  may  be  reproduced  (in 
the  same  manner  as  a  pen-drawing)  by  the 
ordinary  photo  relief  and  photo-lithographic 
processes.     In  short,  it  is  a  photo-mechani- 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


123 


cal  method  for  producing  direct  from  nature 
an  economical  and  superior  substitute  for 
pen-drawings. 

"  The  line  and  stipple  picture  is  produced 
in  the  following  manner  :  A  thin  film  of 
gelatine  sensitized  with  bichromate  of  po- 
tassa,  is  exposed  to  light  under  an  ordinary- 
photographic  negative  of  the  object  to  be 
reproduced,  then  swelled  in  water  and  a 
cast  taken  in  plaster-of-Paris.  The  highest 
portions  of  the  cast  represent  the  blacks  of 
the  picture,  the  lowest  parts  the  whites,  and 
the  middle  shades  are  represented  by  varia- 
tions of  heights  between  the  two  extremes. 

"  To  produce  upon  the  white  surface  of 
this  relief  an  impression  which  will  repre- 
sent the  variations  of  shade  by  black  lines 
and  stipple  of  varying  thickness,  an  evenly 
inked  surface  of  elastic  V-shaped  lines  or 
stipple  is  pressed  against  it  until  the  required 
effect  is  obtained. 

"The  process  is  confined  to  the  establish- 
ment of  Crosscup  &  West,  of  Philadelphia, 
and  samples  of  the  excellent  work  produced 
have  from  time  to  time  graced  the  pages  of 
this  journal." 

The  excellent  work  of  the  Moss  Engrav- 
ing Co.,  of  New  York,  is  based  upon  the 
general  principles  given,  but  the  inventors 
claim  that  their  good  results  depend  upon 
certain  modifications  which  they  hold  secret. 

"We  have  only  space  to  notice  briefly 
the  photograveur  processes,  the  productions 
of  which  have  been  so  admired  by  artists 
for  the  softness  and  delicacy  of  their  tone 
and  their  gradations  in  light  and  shade. 

Of  all  the  productions  of  illustrations 
by  mechanical  means,  these  resemble  most 
of  all  paintings. 

Mr.  Fox  Talbot,  to  whom  photography 
owes  so  much,  was  the  first  who  took  out 
patents  for  the  production  of  photograveurs. 

M.  Goupil  &  Co.,  of  Paris,  are  at  present 
the  principal  workers  of  the  photograveur 
process. 

Mr.  Leon  Vidal  describes  the  method  as 
follows : 

"  A  bed  of  bichromatized  gelatine  is  ex- 
posed to  the  sun's  ray3  through  a  photo- 
graphic negative  and  afterwards  washed  in 
water.  The  image  after  the  washing,  and 
when  the  gelatine  has  become  dry,  appears 
as   if   formed   of    a   more   or   less   marked 


grain  in  proportion  to  the  intensity  of  the 
shadows.  The  gelatine  is  then  firmly  pressed 
against  a  sheet  of  metal,  which  takes  the 
impression  of  the  image  which  has  been 
formed  upon  the  gelatine.  This  impression, 
properly  prepared,  serves  as  a  mould  upon 
which,  by  means  of  the  galvanic  battery, 
copper  is  deposited.  As  soon  as  the  required 
thickness  is  deposited,  the  plate  is  finished 
by  cleaning  and  by  such  retouching  by  an 
engraver  as  may  be  considered  necessary. 
If  the  plate  be  now  subjected  to  the  process 
of  steel  facing,  an  intaglio  frosty  surface  is 
obtained  from  which  a  large  number  of  im- 
pressions may  be  obtained." 


THE  NEW  DEPARTURE  IN  PAPER 

PRINTING— CARBUTT'S  GELA- 

TINO-CHLORIDE  PAPER. 

It  is  not  necessary  at  this  late  day  to 
remind  any  one  that  photography,  as  far  as 
negative  making  is  concerned,  has  in  reality 
put  on  her  seven-leagued  boots,  and  that  the 
old  wet-plate  process  has  been  left  far  in  the 
dim  vistas  of  the  past ;  but  while  our 
coursers  have  thus  been  spurred  to  their 
utmost  speed,  we  have  forgotten  to  look 
behind  and  discover  that  our  chariot  wheels 
of  progress  are  clogged  with  an  obstruction 
which  no  one  has  hitherto  thought  necessary 
to  remove,  that  is  paper  printing.  "What 
progress  have  we  made  since  the  first  formula 
for  paper  printing  was  given  to  the  world? 
We  have  stood  still.  We  may  boast  that  we 
can  take  a  negative  in  the  fraction  of  a  sec- 
ond, but  hide  our  heads  when  we  must 
acknowledge  that  it  may  take  a  day  to  print 
from  it.  Our  silver  paper  makes  us  still  the 
slave  of  old  Sol.  When  he  frowns,  as  he 
very  often  has  done  this  winter,  our  poor 
paper  prints  must  wait  his  gracious  smile  to 
body  forth  slowly  the  quick  perfection  of 
the  lively  negative. 

We  can  imagine  the  active  negative 
speaking  in  tones  of  reproach  to  the  slow 
evolving  silver  paper.  But  courage !  The 
star  of  progress  is  rising  above  the  horizon. 
We  are  convinced  that  ere  long  the  photog- 
rapher will  be  able  to  print  his  photos  by 
gaslight.  What  a  boon  this  to  the  photog- 
rapher pressed  for  time.  We  recently  had 
the  opportunity  of  witnessing  a  demonstra- 


124 


THE    PHILADELPHIA    PHOTOGEAPHER 


tion  of  printing  upon  the  gelatino-chloride 
paper  made  by  Mr.  John  Carbutt.  The 
paper  was  exposed  under  a  negative  to  ordi- 
nary light  on  a  cloudy  day  for  a  few  seconds ; 
he  also  employed  the  light  of  burning  mag- 
nesium wire,  which  immensely  diminished 
the  time  of  exposure. 

The  paper  was  then  softened  for  a  minute 
in  clear  water,  after  which  it  was  treated  to 
the  developer  formed  as  follows  : 

No.  1. 


Neutral  Oxalate  of  Potash,  . 

4 

oz. 

Neutral  Citrate  of  Potash,   . 

U 

oz. 

Chloride  of  Ammonium, 

80 

grs. 

Citric  Acid,  .... 

120 

grs. 

Distilled  or  Water  from  Ice, 

40 

oz. 

No.  2. 

Protosulphate  of  Iron, 

480 

grs. 

Water,           .... 

40 

oz. 

Sulphuric  Acid,    . 

10 

drops. 

Fixing  Bath. 

Hyposulphite  of  Soda, 

4 

oz. 

Water,           .... 

20 

oz. 

Clearing  Solution. 

Water, ..... 

20 

oz. 

Pulverized  Alum, 

14 

oz. 

Sulphuric  Acid,    . 

i 

oz. 

Take  one  ounce  of  No.  1  and  one  ounce 
of  No.  2  and  add  one  ounce  of  water ;  pour 
over  the  paper  and  move  the  dish  as  in 
ordinary  development.  The  image  will  very 
soon  begin  to  show  itself  and  develop  to  per- 
fection. If  the  paper  has  been  rightly 
timed,  a  beautiful  sepia  tone  will  be  pro- 
duced full  of  soft  and  rich  gradations  ;  if  the 
time  has  been  a  little  full,  a  rich  russet-brown 
is  the  result.  Delicate  purplish  tones  can 
also  be  secured  by  toning  the  print  with 
gold,  as  with  an  ordinary  silver  print.  The 
tones  produced  by  the  development  alone  are 
very  rich  and  pleasing,  but  if  the  purple 
tones  are  preferred,  with  the  use  of  the  gold 
bath,  care  should  be  taken  thoroughly  to 
wash  out  the  iron  from  the  paper  before 
subjecting  it  to  the  bath,  otherwise  there 
will  be  an  unevenness  in  the  tone,  and  the 
bath  will  be  ruined.  To  prevent  this,  all 
that  is  necessary  is  to  subject  it  to  the  clear- 
ing solution  given  above,  let  it  lie  in  this 
for  ten  minutes,  then  wash  before  placing  in 
the  fixing  bath,  where  it  should  remain  ten 


minutes,  keep  the  prints  in  motion  in  the 
hypo  solution  as  with  ordinary  silver. prints. 
Wash  after  removal  from  the  hypo  and  the 
operation  is  complete. 

By  amateurs  this  new  departure  in  paper 
printing  will  be  hailed  with  delight,  espe- 
cially as  it  has  reached  such  perfection  in  the 
hands  of  Mr.  Carbutt. 

They  can  with  ease  print,  develop,  and 
finish  their  pictures,  and  in  the  end  secure 
views  which  will  delight  them.  The  mis- 
eries attendiug  the  manipulation  of  silver 
prints  has  deterred  many  an  amateur  from 
undertaking  the  operation  himself,  and,  con- 
sequently, he  has  been  contented  with  blue 
prints  in  which  much  of  the  soft  gradation 
and  beauties  of  the  negative  are  lost.  With 
this  new  paper,  almost  as  easy  in  manipula- 
tion as  a  blue  print,  he  will  be  able  to  pro- 
duce charming  results  which  will  faithfully 
translate  the  excellence  of  his  negatives. 

Mr.  Carbutt  has  also  favored  us  with  a  de- 
monstration of  the  development  of  his  opal 
plates. 

The  process  is  similar  to  the  development 
of  the  chloride  paper. 

The  sensitive  film  in  exposed  in  contact 
with  the  negative  to  diffused  or  artificial 
light.  The  image  should  show  gradually ;  if 
it  flash  out,  either  the  exposure  is  too  much 
or  the  developer  needs  a  little  bromide ;  one 
to  three  drops  of  a  fifty  grain  solution  of 
bromide  to  each  ounce  of  developer  has 
a  strong  restraining  action  in  the  pres- 
ence of  the  citric  acid  and  chloride  of 
ammonium;  for  very  warm. tones,  dilute  de- 
veloper with  equal  parts  of  water  and  add 
one  or  two  drops  of  bromide  solution  to  each 
ounce  of  developer,  but  be  sure  and  give 
at  least  double  the  exposure ;  do  not  carry 
the  development  of  the  opals  tco  far,  as  they 
loose  very  little  in  fixing.  For  a  positive 
picture  on  opal,  the  development  should  be 
arrested  the  moment  the  detail  shows  in  the 
high  lights,  and  this  is  most  effectually  done 
by  quickly  removing  the  plate  from  the  de- 
veloper, and  flushing  over  the  surface  a  five 
grain  solution  of  potassium  bromide  ;  this  in- 
stantly arrests  development  and  preserves 
the  brilliancy  of  the  image. 

Wash  and  fix  in  solution  No.  3,  wash  a 
few  minutes  and  immerse  for  one  minute  in 
solution  No.  4,  wash  thoroughly,  and  before 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


125 


placing  to  dry  go  over  the  surface  with  a 
swab  of  absorbent  cotton  while  water  is 
flowing  over  it,  then  dry  spontaneously. 
Opal  plates  with  matt  surface  for  artistic 
work  are  also  made. 

There  are  few  productions  of  photography 
more  pleasing  than  these  opal  plates.  There 
is  a  softness  and  harmony  in  the  gradations 
of  tone  and  a  brilliancy  in  the  whole,  which 
make  it  a  pleasure  to  look  at  them. 

OBITUARY. 

On  the  13th  inst.  suddenly  passed  away 
Titian  Ramsey  Peale,  at  his  residence  in 
Philadelphia,  in  the  86th  year  of  his  age. 
He  was  the  last  surviving  son  of  Charles 
Wilson  Peale,  artist  and  naturalist,  and 
founder  of  Peale's  Museum  in  Philadelphia. 

The  subject  of  this  brief  memoir  accompa- 
nied Wilk's  Exploring  Expedition  as  nat- 
uralist, and  on  his  return  was  appointed 
examiner  in  the  Patent  Office,  where  be  re- 
mained many  years.  He  was  one  of  the 
earliest  amateur  photographers  in  this  coun- 
try, and  used  his  influence  with  the  Govern- 
ment to  introduce  photography  in  several  of 
its  departments  and  particularly  in  the  ex- 
peditions to  the  far  West,  and  much  of  the 
early  work  done  in  that  direction  was  due  to 
his  exertions.  His  leisure  hours  at  Wash- 
ington were  often  spent  on  Kock  Creek  and 
other  picturesque  spots  around  the  city,  and 
during  the  war  the  camps  and  military 
movements  were  favorite  subjects  for  his 
camera. 

His  great  age  prevented  him  pursuing 
actively  his  pleasant  pastime  of  late  years, 
although  he  manifested  a  warm  interest  in 
the  advancement  of  the  art,  and  often  re- 
marked how  much  more  he  could  have 
accomplished  had  gelatine  plates  been  in  use 
twenty  years  earlier. 

He  was  a  most  genial  companion,  and  his 
loss  will  be  felt  by  a  large  circle  of  warm 
friends. 


THE  PLEASURES  OF  PHO- 
TOGRAPHY. 

BY    XANTHUS   SMITH. 

A  great  deal  has  been  written  both  in 
prose  and  poetry  about  the  pleasures  inci- 
dental to  the  chase,  and  all  that  has  been 


said  about  the  keen  zest  with  which  the 
sportsman  and  angler  pursue  their  avoca- 
tions is  fully  applicable  to  the  amateur  pho- 
tographer, who  sets  out  in  search  of  subjects 
for  his  camera.  The  angler  having  bestowed 
much  time,  with  his  mind  in  an  agreeable 
state  of  anticipation,  upon  the  preparation 
of  his  rod  and  reel  and  flies,  sets  off  at 
early  morn,  released  from  the  confinement 
of  his  daily  occupation,  to  ply  his  hook  and 
line  in  the  midst  of  beautiful  and  secluded 
nature  ;  and  the  hunter,  with  gun  and  game- 
bag,  roams  over  hill  and  dale  in  a  delightful 
state  of  expectancy  of  what  may  rise  before 
him,  and  by  skilful  aim  become  his  prize  ; 
and  the  amateur  photographer,  while  he 
also  enjoys  to  the  same  extent  all  these 
pleasure-giving  sensations,  may  besides  be 
a  most  refined  and  sensitive  humanitarian 
and  rest  happy  in  the  consciousness  that  he 
destroys  no  life,  and  that  while  he  plies  his 
avocation,  the  finny  tribe  may  be  gliding 
and  darting  beneath  the  surface  of  the  sunny 
brook,  the  furry,  gambolling  about  him 
over  the  glade,  and  the  feathered,  warbling 
overhead,  all  in  undisturbed  enjoyment  of 
the  existence  that  has  been  given  them. 
And  then ,  too,  to  see  how  lasting  the  result  of 
his  efforts,  not  simply  a  meal  or  two,  which 
though  devoured  with  sharpened  appetite, 
is  soon  to  be  forgotten,  but  a  treat  in  store 
for  himself  and  his  friends  whenever  he  may 
choose  to  go  to  his  cabinet  and  bring  forth 
his  treasures. 

The  season  is  now  approaching  when 
many  very  picturesque  and  interesting  land- 
scape bits  are  to  be  got  even  in  the  neigh- 
borhood of  cities,  by  those  who  have  neither 
the  time  nor  means  to  make  extended  jour- 
neys. The  budding  foliage  of  May,  whilst 
it  transforms  nature  from  the  desolate  bar- 
renness of  winter,  still  admits  of  the  seeing 
of  a  great  deal  that  by  the  middle  of  June 
is  shut  out.  The  stems  and  limbs  of  fine 
trees,  groups  of  picturesque  buildings,  and 
interesting  peeps  of  distance  are  all  swal- 
lowed up  by  midsummer  in  a  dense  green 
foliage,  which  is  one  of  the  least  suitable 
things  in  nature  to  be  photographed. 

Those  who  are  provided  with  an  outfit 
should  now  be  getting  it  in  readiness. 
Every  necessary  together,  in  the  neatest 
and  most  compact  order,  so  as  to  be  carried 


126 


THE    PHILADELPHIA    PHOTOGRAPHER. 


in  the  easiest  and  safest  manner  possible, 
and  so  that  nothing  is  likely  to  be  forgotten 
at  setting  off.  Complete  as  are  the  different 
kinds  of  apparatus  furnished,  there  is  still 
much  room  for  improvement,  and  those  who 
have  any  experience  in  photography  well 
know  what  a  constant  rearranging,  fitting, 
and  adapting,  are  necessary  in  order  to  meet 
the  various  unlooked-for  contingencies 
which  are  constantly  arising,  and  which 
without  both  ingenuity  and  effort  would 
stop  out  the  chances  offered  by  new  and 
peculiar  situations.  See  that  your  cameras 
are  light-tight  and  your  plate-holders  obso- 
lutely  so,  and  provide  yourself  with  a  relia- 
ble make  of  plates.  Whatever  may  be 
said  of  others,  Carbutt's  are  certainly  so, 
and  having  arranged  matters  so  as  to  secure 
a  holiday  for  the  first  calm  day,  take  a  train 
to  some  station  a  few  miles  from  town  in  a 
direction  where  there  is,  if  possible,  a  roll- 
ing country  with  a  stream.  Where  there 
are  hills  the  farmer  is  able  to  do  little,  con- 
sequently nature  has  her  own  way.  Take 
the  course  of  a  brook  if  you  can.  You  will 
there  find  trees  in  greater  variety  and  lux- 
uriance— there  the  chances  of  encountering 
picturesque  mills  and  old  stone  bridges 
occur,  and  the  reflections  of  objects  in  the 
occasional  flat  passages  of  water  add  so 
much  to  the  beauty  of  the  scene,  and,  too, 
a  foreground  of  water  and  rocks  is  one  of 
the  most  interesting  you  can  have.  Do  not 
be  in  a  hurry — unless  you  have  experience, 
and  see  some  rare  chances,  then  be  as  quick 
as  the  sportsman  with  his  gun — but  ordi- 
narily go  well  about,  selecting  and  com- 
paring, and  when  you  think  you  have 
a  good  subject,  view  it  on  the  focussing 
glass  of  your  camera  from  different  points. 
You  will  always  find  that  in  order  to  gain 
one  advantage  or  beauty,  you  must  sac- 
rifice another,  decide  which  is  the  most  im- 
portant to  be  seized  before  exposing  your 
plate. 

Be  provided  with  a  lunch,  not  a  great 
basketful,  for  you  will  have  enough  to  carry 
without  that,  but  a  compact  bite  that  will  go 
in  your  pocket,  for  if  in  addition  to  the 
accomplishment  of  your  object  you  are  also 
to  gain  some  advantage  in  health  and 
strength  by  your  trip  into  the  country  as 
well  as  enjoyment,  you  must  not  exhaust 


yourself,  and  if  you  wish  to  do  your  work 
justice  you  will  not  have  time  to  go  hunting 
a  public  house  and  wait  until  a  dinner  has 
been  prepared  for  you.  And  try  and  have 
an  agreeable  companion  with  you — one,  if 
possible,  interested  in  the  same  pursuit. 
One  is  better  than  two  or  three,  if  you  wish 
to  accomplish  much,  for  the  greater  the 
number  the  more  will  be  the  diversity 
of  opinion,  and  consequent  trifling  of  time. 
Two  can,  however,  work  to  much  better 
advantage  than  one,  for  in  addition  to  the 
assistance  they  may  give  each  other  in 
various  matters,  with  a  companion  you  will 
be  emboldened  to  venture  amongst  sur- 
roundings which  you  might  be  inclined  to 
avoid  if  alone.  There  is  a  humorous  little 
sketch,  accompanying  some  advertisement 
of  photographic  outfits,  of  an  aroused  bull 
dashing  at  an  ameteur,  who  with  head 
muffled  under  the  focussing  cloth  is  all  un- 
conscious of  his  perilous  situation.  If  you 
have  chanced  to  have  seen  this,  you  will 
fully  appreciate  my  meaning.  Animated 
nature  gives  variety  and  interest  to  subjects, 
and  you  should  court  rather  than  avoid 
both  man  and  beast,  and  as  you  will  some- 
times see  little  distinction  between  the  two 
in  your  out-of-the-way  ramblings,  you  will 
find  the  assistance  of  a  friend  of  great 
advantage. 

I  think  that  nothing  can  exceed  the  zest 
with  which  an  amateur  sets  out  in  search  of 
subjects  suitable  for  his  camera  or  the  agreea- 
ble state  of  expectancy  in  which  he  returns, 
keen  to  develop  his  plates  and  see  what  may 
be  the  result  of  his  day's  work,  and  if  it 
should  have  proved  successful,  what  a  tri- 
umph to  have  succeeded  in  fixing  some 
beautiful  and  transient  effects  of  nature  to  be 
looked  at  for  years  and  years  to  come,  per- 
haps, and  recalling  each  time  all  the  pleasant 
associations  connected  with  the  attainment 
of  them.  Indeed,  I  wish  that  very  many 
more  than  do,  could  understand  and  prac- 
tise so  innocent  and  instructive  an  enjoy-  » 
ment,  and  I  am  quite  sure  that  there  are 
many  who  never  having  thought  of  a 
camera  as  a  source  of  amusement,  could 
they  but  get  a  taste  of  its  beguiling  allure- 
ments, would  not  let  a  day  pass  until  they 
had  set  about  providing  themselves  with  a 
photographic  outfit. 


THE    PHILADELPHIA    PHOTOGKAPHEE. 


127 


Pictures  Received. — From  Mr.  John  E.  Du- 
mont,  of  Rochester,  New  York,  a  number  of 
highly  artistic  views  of  scenery  in  the  northern 
part  of  New  York  State.  These  photographs 
are  not  only  excellent  technically,  but  give  evi- 
dence of  great  ability  in  selective  power.  There 
is  a  just  relation  in  all  the  parts  of  the  picture, 
and  the  management  of  the  light  and  shade  gives 
beautiful  effects.  The  deep  portions  harmoni- 
ously blend  with  the  high  lights,  which  seem 
to  suffuse  a  softness  over  the  densest  parts  of 
the  picture.  The  mobile  power  of  the  water  is 
true  to  nature,  and  the  foliage  well  brought  out. 
The  distance  has  that  fine  atmosphere  which 
softens  without  obscuring  the  far-off  horizon. 
The  snow  and  ice  views  are  especially  fine.  One, 
of  the  Falls  of  Niagara  in  winter,  is  a  superb 
picture.  The  ice  has  all  the  appearance  of  ice, 
and  none  of  that  harsh  white  effect  and  violent 
contrast  which  we  too  often  see  in  winter  sub- 
jects. Its  translucent  nature  is  beautifully 
shown.  We  are  sorry  we  have  not  the  space  to 
speak  of  the  individual  merits  of  these  photo- 
graphs, which  represent  a  variety  of  subjects, 
all  of  which  are  worthy  the  brush  of  the  painter. 
From  Mr.  C.  W.  Motes,  Atlanta,  Ga.,  a  very 
beautiful  photograph  from  life  representing 
"Faith  at  the  Cross."  A  sweet  maiden  with 
hands  uplifted,  clinging  to  the  cross  with  an  ex- 
pression of  trust  and  hope  upon  her  face,  makes 
up  the  simple  picture,  full  of  suggestion  and 
photographic  excellence.  It  is  of  the  same  class 
of  work  as  Mr.  Motes's  celebrated  picture, 
"  The  Daughter  of  Danaus,"  and  is  surely 
worthy  of  the  highest  praise,  though  scarcely 
as  pretentious  a  subject  as  the  other.  We  con- 
gratulate our  friend  on  his  taste,  which  is  de- 
cidedly superior. 


It  is  astonishing  what  perfection  the  applica- 
tion of  photography  to  illustration  has  reached. 
We  have  just  received  from  Messrs.  BAchrach  & 
Bro.,  of  Baltimore,  a  beautifully  illustrated 
pamphlet  of  the  Levytype  process  of  photo- 
engraving. It  contains  reproductions  of  line 
drawings,  etchings,  engravings,  etc.  They  are 
produced  directly  in  hard  type-metal,  and  can 
be  employed  on  a  printing  press  with  the  same 
facility  as  wood  engravings,  and  have  the  ad- 
vantage of  being  just  as  good  and  infinitely 
cheaper.      The   designs    are   very   choice    and 


artistic  and  present  a  very  pleasing  effect  in  the 
color  employed.  For  commercial  and  scientific 
work  photo-engraving  is  fast  taking  the  place 
of  the  old  tedious  and  mechanical  process,  which 
in  a  few  years  will  be  left  to  the  artist  alone  to 
impress  the  products  of  his  genius  upon. 


The  Blair  Tourograph  and  Dry  Plate  Co., 
of  471  &  475  Tremont  Street,  Boston,  Mass., 
whose  compact  combination  and  reversible-back 
cameras  are  so  well  known  to  professionals  and 
amateurs,  have  found  it  necessary,  owing  to 
their  greatly  increased  trade,  to  establish  agen- 
cies for  special  territories.  Arrangements  have 
been  made  with  Mr.  AVilliam  T.  Gregg,  of  New 
York,  and  Messrs.  Blair  &  Prince,  of  Cincin- 
nati, to  act  as  their  agents  for  the  respective 
territories.  Mr.  William  T.  Gregg  has  recently 
opened  a  large  establishment  at  318  Broadway 
to  accommodate  a  full  line  of  goods,  where  a 
fresh  stock  of  everything  manufactured  by  the 
Blair  Company  will  be  found.  A  large  and 
commodious  dark-room  has  been  built  for  the 
convenience  of  customers,  and  a  photographer 
of  wide  experience  has  been  secured  to  take 
charge.  The  firm  of  Blair  &  Prince  is  one  of 
recent  organization.  Their  store,  with  base- 
ment, is  located  at  148  N.  Fourth  Street,  one  of 
the  most  popular  thoroughfares  of  Cincinnati. 
They  are  well  equipped  with  a  large  and  choice 
stock  of  new  goods,  from  the  best  manufacturers 
of  photographic  and  dry-plate  requisites.  They 
have  also  a  convenient  dark  room  for  the  accom- 
modation of  their  amateur  customers.  Mr. 
Bonssur,  late  with  Messrs.  Douglass,  Thomp- 
son &  Co.,  of  Chicago,  and  formerly  with  Messrs. 
W.  H.  Walmsley  &  Co.,  of  Philadelphia,  has 
been  engaged  to  assist  in  the  business.  Dealers 
can  be  supplied  from  either  of  the  houses,  in 
New  York  or  Cincinnati,  at  the  same  rates  as 
directly  from  the  Blair  factory. 


Messrs.  Wilkinson  &  Co.,  of  Sunderland, 
England,  have  brought  to  our  notice  their  triple 
lantern,  an  instrument  containing  all  the  latest 
improvements  constructed  for  producing  every 
effect  which  makes  the  magic  lantern  so  popu- 
lar. The  body  of  the  lantern  is  of  polished 
Spanish  mahogany,  with  six  rosewood  panelled 
doors  and  mouldings,  fitted  with  brass  cells 
and  colored  glasses,  two  pairs  brass  rail-handles 


128 


THE    PHILADELPHIA    PHOTOGRAPHER. 


to  lift  it  by,  fronts  and  stages  entirely  of  highly 
finished  brass,  three  sliding  adjustments  for 
focussing  to  various  distances,  twelve  achromatic 
focus  lenses,  best  four-inch  condensers,  top  lan- 
tern removes  and  fits  on  to  second  base  board, 
three  best  oxyhydrogen  jets  of  improved  and 
very  solid  construction  (fitted  with  mitre  wheels 
for  turning  lime),  platinum  points,  etc.  The 
jets  fix  on  to  turned  steel  pins,  fitted  in  stout 
iron  plates,  sliding  in  dovetails.  The  new  tri- 
unial  dissolver,  fixed  on  a  brass  plate  which 
hinges  forward  and  clamps,  so  as  to  come  under 
the  eye  of  the  operator. 


and,  being  made  of  Schering's  finest  manufact- 
ure, can  be  implicitly  relied  on. 


We  have  received  a  circular  from  the  Scovill 
Manufacturing  Company,  of  New  York,  con- 
taining a  description  of  a  convenient  form  of 
pyrogallic  acid.  By  compression  this  bulky 
material  is  made  to  occupy  the  smallest  amount 
of  space  possible.  There  is  no  doubt  of  the 
popularity  of  pelletone,  as  it  is  called.  It  is 
put  up  in  bottles  containing  one  hundred  two- 
gramme  (exactly  two  grain)  tablets  of  Schering's 
unrivalled  pyrogallic  acid.  Everyone  knows 
what  a  mess  is  made  by  having  to  weigh  small 
quantities  of  pyrogallic  acid  every  time  that  it 
has  to  be  used,  and  one  does  not  care  to  be 
always  having  recourse  to  scales  and  weights, 
especially  the  tourist  when  away  from  home. 
Numerous  expedients  to  obviate  this  have  been 
had  recourse  to,  such  as  dissolving  the  pyrogal- 
lic acid  in  alcohol,  or  in  water  to  which  sulphite 
of  soda,  citric  acid,  nitric  acid,  and  other  agents 
have  been  added  to  prevent  its  oxidation,  and 
these  are  all  excellent  in  their  way,  although 
they  entail  some  degree  of  preparation,  and  ne- 
cessitate the  keeping  of  solutions  ready  made  up. 
It  occurred  to  Dr.  George  S.  Sinclair,  of  Hali- 
fax, that  all  the  annoyances  and  difficulties  in- 
herent in  such  solutions  could  be  entirely  got 
rid  of  by  having  the  pyrogallic  acid  compressed 
into  small  round  tablets,  each  containing  ex- 
actly two  grains.  Experiments  were  tried,  and 
machinery  made,  the  result  being  this  great 
boon  to  the  photographer — that  in  a  small  bottle 
may  be  carried  a  large  number  of  these  com- 
pressed pellets,  each  of  which  is  precisely  two 
grains.  They  are  ready  for  use  at  all  times ;  to 
make  a  solution  of  any  definite  strength,  it  is 
only  necessary  to  measure  out  the  water  re- 
quired, and  to  each  one,  two,  three,  or  more 
ounces,  add  so  many  of  these  pellets,  which 
quickly  dissolve,  giving  a,  fresh  aqueous  solution 
of  the  acid,  entirely  free  from  any  contaminat- 
ing or  preservative  agent. 

These  tablets  keep  indefinitely,  dissolve  easily, 


We  have  received  a  very  touching  appeal  from 
Mr.  J.  V.  Kramer,  a  photographer  of  this  city, 
a  personal  appeal  for  help  from  the  fraternity. 
Sickness  and  accumulated  misfortunes  have 
brought  this  worthy  man  to  the  brink  of  abso- 
lute dependence  upon  the  charity  of  the  gener- 
ous spirits  of  our  profession.  We  are  convinced 
that  Mr.  Kramer  would  not  make  this  appeal 
until  every  resource  for  self-aid  had  been  ex- 
hausted. We  can,  from  personal  acquaintance, 
say  that  he  is  indeed  a  worthy  object  of  sym- 
pathy. Any  pecuniary  aid  may  be  sent  to  him 
direct,  at  6048  Lombard  Street,  Philadelphia,  or 
to  the  editor  of  Philadelphia  Photographer. 


In  our  last  issue  in  commenting  upon  the  re- 
duction in  the  prices  of  dry  plates  in  America 
we  stated  that  the  reduction  of  twenty  per 
cent,  had  been  made  from  the  price  adopted  by 
the  dry-plate  makers  at  their  meeting  held 
at  the  Metropolitan  Hotel,  February  10th.  It 
should  have  been  stated  that  the  reduction  was 
from  the  old  price-list. 

At  a  meeting  of  the  Society  for  the  Advance- 
ment of  Photography,  held  at  Berlin,  the  Presi- 
dent (Prof.  H.  W.  Vogel)  presented  the  various 
photographic  periodicals,  and  drew  the  attention 
of  the  members  to  the  important  changes  that 
have  occurred  in  the  publication  of  photographic 
journals.  Hitherto  the  older  Americon  journals 
appeared  monthly — since  New  Year  the  Photo- 
graphic Times  is  issued  weekly  in  folio  size,  and 
Anthony's  Bulletin  semi-monthly,  under  the 
direction  of  the  renowned  chemist,  Prof.  Chan- 
dler. On  the  contrary,  the  Vienna  Photo.  Cor- 
respondez  has  changed  from  a  semi-monthly  to 
a  monthly,  but  in  larger  form  and  with  an  illus- 
trated cover.  Besides  this  he  made  mention 
of  the  sad  news  that  the  publisher,  Counselor 
Dr.  E.  Hornig,  was  very  much  impaired  in  use- 
fulness in  consequence  of  a  nervous  malady, 
and  hoped  for  his  speedy  recovery. — Photo. 
Mittheilnngen. 


It  is  with  pleasure  that  we  learn  that  a  new 
association  of  photographers  is  to  be  established, 
called  the  Photographic  Association  of  Fort 
Wayne.  Its  object  is  the  mutual  benefit  of  all 
members  of  the  Society,  and  the  general  ad- 
vancement of  the  art  of  photography.  We  wish 
them  success  in  this  enterprise,  believing  that 
there  is  no  more  effectual  means  of  furthering 
the  art  than  the  mutual  interchange  of  ideas 
which  association  calls  forth. 


MAKE  OUT  YOUR  OWN  BILL,  and  remit  cash  with  your  advertisements,  or  they  will  not  be 
i  nserted . 

ADVERTISING  RATES  FOR  SPECIALTIES.— Six  lines,  one  insertion,  #2.00,  and  25  cents  for 
each  additional  line,  seven  words  to  a  line — in  advance.  Operators  desiring  situations ,  no  charge.  Mattel 
must  be  received  by  the  23d  to  secure  insertion.  Advertisers  will  please  not  ask  us  for  recommendations. 
W°We  cannot  undertake  to  mail  answers  to  parties  who  advertise.  Please  always  add  your  address  to  the 
advertisement.     Postage-stamps  taken. 


BACKGROUNDS. 
Head  and  Bust,  Three-quarter  Lengths, 
Rembrandt's,  Vignettes,  ete. 

Lafayette  W.  Seavey, 

216  E.  Ninth  St.,  N.  Y. 


W.  F.  ASHE 

ARTISTIC    BACKGROUNDS 

AND 

ACCESSORIES, 

KEMOVED  TO  68  WEST  EOTTKTB  ST., 
4  Blocks  West  op  Broadway,  N.  Y. 

My  new  studio  is  fitted  up  with  all  the  mod- 
ern improvements,  and  the  most  refined  demands 
from  a  critical  public  can  be  satisfied.  A  visit 
to  my  establishment,  which  has  the  largest 
showroom,  containing  the  greatest  amount  of 
stock  of  any  place  in  the  world,  will  be  grate- 
fully appreciated. 

I  have  again  added  numerous  new  designs  to 
my  great  variety  of  patterns  for  backgrounds 
and  accessories,  and  keep  also  in  stock  a  large 
quantity  of  goods  for  parties  to  select  from, 
saving  time  and  delay  on  orders. 


Ask  your  stockdealer  for  one  of  Scofield's  re- 
touching-pencil sharpeners,  and  one  vignetting 
attachment  on  trial,  or  we  will  send  them,  post- 
paid, on  receipt  of  50  cents  for  sharpener  and 
25  cents  for  vignetter,  with  privilege  of  return- 
ing if  not  0.  K.  You  xoill  never  regret  the  in- 
vestment.    Address  C.  A.  Scopield, 

39  Columbia  St., 

Utica,  N.  Y. 


ROOT 00D  SOLAR  PRINTING  CO. 

1 7  Union  Square,  New  York. 

TIME.— It  is  our  intention  that  every  order 
received  in  the  morning's  mail  (when  not  to  be 
put  on  stretchers)  shall  leave  this  establishment 
the  same  day  or  the  following  morning.  If  too 
late  for  the  morning  work,  it  is  sent  on  the  sec- 
ond day.  Having  our  own  engine  and  electric 
light,  we  are  not  at  all  dependent  on  the  weather. 
GEORGE  H.  ROCKWOOD, 
Business  Manager. 


VOGEL'S  PROGRESS  OF  PHOTOGRAPHY, 

LATEST— BEST— $3. 


Every  photographer  in  want  of  excellent 
lenses,  for  any  purpose,  will  best  serve  his  interest 
by  consulting  the  new  illustrated  price-list  of 
Messrs.  Benjamin  French  &  Co.  before  pur- 
chasing. 


For   Sale. — Cheap,    seventeen   years  of   the 

Philadelphia  Photographer,  complete,  1868— 

1884.      Unbound   and   in    excellent    condition. 

Address  H.  A.  P., 

care  of  Philadelphia  Photographer. 


Address  T.  W.  Power,  N.  Y.,  Secretary  of 
Association  of  Operative  Photographers  of  New 
York  City,  for  operators,  printers,  and  re- 
touchers, 392  Bowery,  or  487  Eighth  Avenue. 


130 


THE    PHILADELPHIA    PHOTOGKAPHER 


No.  18. 


No.  18. 


WAYMOUTH'S 

VIGNETTE 

PAPERS, 

The  old  form  of  No.  IS,  Wayinouth's  Vignette 
Papers,  oval,  has  been  discarded,  and  a  new 
■pear-shaped  style  is  now  ready  in  its  place.  It 
is  a  beautiful  piece  of  gradation  and  prints 
perfectly.  Price  $1.25  per  dozen.  For  sale  by 
all  dealers.     See  advertisement  for  all  sizes. 


A   GOOD   BUSINESS 
FOR  ANYONE. 


No.  18. 


NOW  READY. 


No.  18. 


PORTRAITS  IN  CRAYON. 
The  new   book    by   E.   Long,   on   the   art  of 
making   portraits   in   crayon   on   solar  enlarge- 
ments, covers  the  entire  ground,  and  is  sold  for 
the  low  price  of  fifty  cents.     For  sale  by 

Edward  L.  Wilson, 

Philadelphia. 

METAL  GUIDES 

FOR 

A.  M.  COLLINS,  SON  &  CO.'S 
No.  26  Gilt  Bevelled-edge  Cards. 
The  fancy-shaped  mounts  now  so  fashionable 
among  photographers,  require  metal  guides  with 
which  to  cut  the  photographs.  They  are  now 
kept  on  hand,  and  can  be  supplied  in  the  follow- 
ing shapes,  and  at  the  prices  mentioned  : 

Each. 

Cross $1  05 

Star 1  00 

Palette 90 

Leaf 90 

Bell  90 

Crescent 80 

Egg 50 

Triangle 90 

For  sale  by  Edward  L.  Wilson, 

1125  Chestnut  Street, 
Philadelphia,  Pa. 

We  are  Ready. 
Owing  to  the  sudden  increase  in  the  demand 
for  the  Rockwood  Dry  Plates,  we  were  obliged 
through  the  months  of  July  and  August  to  de- 
cline many  orders.  We  hare  now  more  than 
quadrupled  our  facilities,  and  introduced  im- 
provements which  will,  we  hope,  enable  us  to 
fill  orders  with  promptness,  and  give  us  plates 
possessing,  if  possible,  still  more  sensitiveness 
and  uniformity.  For  price-lists  and  samples  of 
work  done  by  the  "Rockwood  Plate," 

Address     J.  A.  Randel,  Manager, 

17  Union  Square,  New  York. 


Gold,  Silver,  and  Nickel  Plating. 

COMPLETE    OUTFIT,  $3.50. 

Practical,  useful,  and  profitable;  economy, 
thrift,  intelligence,  and  a  quick  apprehension  of 
successful  channels  for  making  money,  are  the 
qualities  that  tell  under  the  new  era  of  scientific 
developments;  an  unlimited  field  in  the  house- 
hold wares  and  family  jewelry  is  open  for  a 
profitable  business  in  filling  orders  for  replat- 
ing  at  small  expense.  Many  ladies  are  making 
handsome  incomes  with  our  $3.50  portable 
plating  apparatus  (illustrated  above)  without 
fatiguing  labor  or  interference  with  other 
duties.  Any  one  can  easily  learn  to  do  the 
finest  quality  of  gold,  silver,  and  nickel  plating 
on  watches  chains,  rings,  knives,  forks,  and 
spoons.  I  make  the  above  set,  consisting  of 
tank  lined  with  acid-proof  cement,  three  cells 
of  battery  that  will  deposit  thirty  pennyweight 
of  metal  a  day,  hanging  bars,  wire,  gold  solu- 
tion, one  quart  of  silver  solution,  and  naif  a 
gallon  of  nickel,  and  supply  a  box  of  bright 
lustre,  that  will  give  the  metal  the  bright  and 
lustrous  appearance  of  finished  work.  Remem- 
ber, these  solutions  are  not  exhausted  by  one 
use,  but  will  plate  any  number  of  articles  if  the 
simple  book  of  instructions  is  followed.  Any 
one  can  do  it.  A  woman's  work.  For  fifty 
cents  extra  will  send  six  chains  or  rings  that 
can  be  gold  plated  and  sold  for  two  dollars 
more  than  the  whole  outfit  costs.  Our  book, 
Gold  and  Silver  for  the  People,  which  offers  un- 
rivalled inducements  to  all;  sent  free.  If  not 
successful  can  be  returned  and  exchanged  for 
more  than  its  value.  Remember,  this  is  a  prac- 
tical outfit,  and  I  will  warrant  it,  or  it  can  be 
returned  at  my  expense  Will  be  sent  C.  0.  D. 
if  desired  upon  receipt  of  $1.50,  balance  to  be 
collected  when  delivered.  Next  size  outfit,  with 
tank  12x10x6,  only  $5.00.  Try  it.  Profits 
over  300  per  cent.  Worth  five  times  its  cost  as 
a  practical,  scientific,  and  business  educator  in 
any  family.  Address  Fredk.  Lowey, 
P.  0.  Rox  1322.  96  &  98  Fulton  St.,  N.  Y. 


THE    PHILADELPHIA    PHOTOGKAPHER. 


131 


SEWING  MACHINE 


SIMPLE 


THE  ONLY  SEWING  MACHINE 

L .  THAT  GIVES  . J 


PERFECT  SATISFACTION. 


rHAS  HO  EQUAL*^ 


SEWING  MACHINE  CO 


ORANGE  MASS. 

30  UNION  SQ.N.Y.   CHICAGO  ILL. 

ST.  LOUIS  MO.  ATLANTA   GA. 
-^FOR   SALEBYF^ 


M.  WERNER, 
PORTRAIT    ARTIST, 

No.  102  N.  Tenth  Street,  Philadelphia. 

Photographs  finished  in  crayon,  India  ink, 
water  colors,  and  pastel,  in  ail  sizes,  in  the  very 
best  styles,  and  at  moderate  prices. 

Solar  Prints  and  Enlargements  Fnrnished, 


FREE  PRESS 


and  The  Household. 


THE  WITTIEST,  BRIGHTEST  AND 
3EST  OF  WEEKLIES. 


THE  GREAT  FAMILY  PAPER. 

Ten  Pages  of  Reading  Matter  nr 
Infinttb  Variety. 


SUBSCRIBE    ISTOW 

AND  RECEIVE  THE  PAPER  FOR  THE 

BALANCE  0FJ884  FREE 

SEND  FOR  SASirLE  COPY.    AGENTS 
WANTED  EVERYWHERE. 

THE  FREE  PRESS  CO.,      Detroit,  Mich, 


FREE  PRESS 


WILSON'S  PHOTOG-RAPHICS. 

It  leads  the  nose   right,   and  presents 

to  the  eye  "  a  perfect  cyclopaedia  of 

photography."  ■ 


132 


THE   PHILADELPHIA   PHOTOGKAPHE& 


WILSON'S  PHOTOGRAPHIOS. 

All  about  emulsion  work  and  plate  mak- 
ing—a  whole  big  chapter.    See  index. 

$4.00  Buy  it.  $4.00 


For  Sale. — At  a  bargain,  the  leading  gallery 
in  a  town  of  4000  inhabitants,  with  a  population 
of  45,000  in  the  county,  being  the  county  seat 
of  one  of  the  wealthiest  counties  in  the  State  of 
Pennsylvania.     Address         P.  0.  Box  142, 

Bellefonte,  Centre  Co.,  Pa. 


Wanted. — To  rent  a  furnished  or  unfurnished 
gallery  in  live  place,  with  a  population  of  10,000 
or  more.  No  one  with  a  poor  light  and  run- 
down gallery  need  write.     Address 

A.  D.  Mitchell, 
Fredonia,  N.  Y. 


For  Sale. — One  of  the  oldest  first  class  gal- 
leries in  St.  Louis.  Well  located.  Has  two  sky- 
lights and  ground  floor.  Store  with  all  the 
modern  conveniences  about  2000  good  paying 
negatives.  Those  meaning  business  apply  to 
J.  C.  Somerville, 

1009  Olive  Street, 
St.  Louis,  Mo. 

SITUATIONS  WANTED. 

No  charge/or  advertisements  under  this  head;  limited 
to /our  lines.     Inserted  once  only,  unless  by  request. 

As  operator  in  some  city  gallery  anywhere  in 
the  United  States.  Has  had  fifteen  years'  ex- 
perience. Best  of  reference.  Address  Drawer 
22,  care  Douglas,  Thompson  &  Co.,  Chicago,  111. 


By  a  young  lady  who  speaks  French,  Spanish, 
and  Italian.  Address  J.  F.  L.,  807  South  Fifth 
Street. 

By  a  competent  photographer  who  is  able  to 
manage  gallery.  Address,  with  full  particulars, 
Photographer,  care  George  Epstein,  270  Lasalle 
Avenue,  Chicago,  111. 

By  a  young  lady,  to  attend  reception-room 
and  retouch,  or  to  devote  her  whole  time  to  re- 
touching. Address  Glendora  Jones,  25th  Ward, 
Cincinnati,  Ohio. 

By  a  young  lady,  as  retoucher;  ink  or  crayon 
worker.  Good  reference.  Address  Retoucher, 
care  of  64  Congress  Street,  Buffalo,  N.  Y. 

Permanently,  at  fair  wages,  as  operator,  etc. 
Quick  and  reliable,  with  long  experience  in  all 
branches  of  the  business.  Address  Wm.  Julich. 
432  W.  Forty-ninth  Street,  New  York. 

By  a  young  man,  with  best  of  reference,  as 
printer  or  general  assistant.  Lately  with  North 
American  View  Company.  Address  A.  R.  Kling- 
ensmith,  New  Brighton,  Pa. 

By  a  lady  retoucher,  in  a  good  gallery  ;  New 
York  or  Pennsylvania  preferred.  Will  make 
herself  generally  useful.  Address  Miss  E.  L. 
Gray,  Binghamton,  N.  Y. 

By  May  1st,  by  an  A  1  gentleman  retoucher, 
who  can  also  assist  in  exterior  viewing  occasion- 
ally. Address  Holloway  Art  Parlors,  Newport, 
Rhode  Island. 

As  operator,  retoucher,  or  printer.  Over  fif- 
teen years'  experience;  good  reference;  no 
fancy  salary.  Address  Photo,  care  Box  254, 
Chester,  Pa. 

As  operator  or  general  workman,  by  an  ex- 
perienced and  competent  man.  Address,  with 
full  particulars,  P.  H.  Oto,  care  P.  0.  Box  1593, 
Bradford,  Pa. 

By  a  first-class  printer  and  toner.  Seven 
years'  experience.  Samples  and  references  ex- 
changed. Address  H.  P.  C,  72  Weybosett 
Street,  Providence,  R.  I. 

By  a  young  man,  as  printer  and  general  as- 
sistant in  a  good  gallery.  Good  references 
given;  habits  good.  Address  F.  P.  Snyder,  136 
N.  Eighth  Street,  Lafayette,  Ind. 

By  a  young  lady,  in  a  first-class  gallery,  as 
retoucher  or  to  attend  reception-room.  Has  had 
eight  years'  experience,  and  can  give  reference. 
Address  K.  A.,  Letter  Carrier  No.  3,  Cleveland,  0. 


THE    PHILADELPHIA    PHOTOG  EAPHEK. 


133 


jA/T  this  season 

the  best  book  for  amateurs  ajvd  all  is 

ROBINSON'S 

PICTORIAL  EFFECT  IN  PHOTOGRAPHY. 

Should  be  Read   by  Every  Negative  Maker  Practising 
In  and  Out  of  Doors. 

NOW  IS  THE  TIME  TO  READ  IT. 


CO  NTENTS. 


CHAP. 

I. 

II 

III. 

IV. 

V. 

VI. 

VII. 

V1I1. 

IX 

X. 

XI. 

XII. 

XIII. 

XIV. 

XV. 

XVI. 


Introductory. 

The  Faculty  of  Artistic  Sight. 
Balance  of  Lines  and  Contrast. 
Balance — Example . 
Balance — Examples — {continued ) . 
Unity. 

Examples — Expression. 
Practice — The  Choice  of  a  Subject. 
Simple  Rules. 

Figures  in  Landscape — Truth. 
The  Sky. 

The  Legitimacy  of  Skies  in  Photographs. 
The  Composition  of  the  Figure. 
Pyramidal  Forms. 
Variety  and  Repetition. 

Variety  and  Repetition  (continued) — Repose- 
Fitness. 


CHAP. 

XVII.  Portraiture. 

XVIII.  Portraiture — The  Management  of  the  Sitter. 
XIX.  Portraiture — The  Pose. 
XX.  Portraiture — Groups — Proportion. 
XXI.  Backgrounds. 
XXII.  Accessories. 

XXIII.  Some  Old  Notions  Touching  Portraiture. 

XXIV.  Chiaro-oscuro. 

XXV.  Chiaro-oscuro — Detail  or  Definition. 
XXVI.  Chiaro-oscuro  —  Various    Arrangements    of 

Light  and  Shade. 
XXVII.  Chiaro-oscuro — Various    Arrangements    of 
Light  and  Shade  {continued). 
XXVIII.  Chiaro-oscuro — Breadth. 
XXIX.  Chiaro-oscuro — Portraiture — The  Studio. 

XXX.  Chiaro-oscuro — General  Considerations. 
XXXI.  Conclusion. 


No  one  can  study  this  excellent  work  without  being  better  able  to  pose  and 
compose  his  subjects,  and  to  light  them  more  artistically.  Those  who  are 
unskilled  comparatively,  hardly  realize  how  much  there  is  to  learn  that  is  of 
value  to  them.  This  book  will  open  their  eyes  and  enlighten  them,  if  they 
can  but  see  when  their  eyes  are  open. 

IT  IS  THE  MOST  POPULAR  PHOTO.  WORK  EVER  PUBLISHED  IN  EUROPE. 

IT  IS  THE  BOOK  WANTED  NO  W  BY  THE  AMERICAN  PHOTOGRAPHER,  TO  POST 

HIM  ON  THE  AMT  OF  PHOTOGRAPHY. 


Cloth,  $1.50;  Paper,  $1.00.    Illustrated. 
WHAT  ITS  READERS  SAY. 

"  Mr.  H.  P.  Robinson's  Pictorial  Effect  in  Photography  is  a  gem,  the  par  excellence 
of  all  photographic  books.  Its  pages  are  full  to  a  letter  of  choice  and  valuable 
instruction.  If  there  is  one  who  has  not  read  it  I  would  advise  him  to  do  so  at  once." 
— G.  F.  E.  Pearsall,  Brooklyn,  N.  Y. 

"I  would  advise  all  photographic  art  students  to  obtain  a  copy  of  Mr.  H.  P. 
Robinson's  Pictorial  Effect  in  Photography,  one  of  the  best  and  most  complete  works 
ever  published  on  the  subject  for  the  benefit  of  photographers.  Read  it  over  and 
over.     Every  page  teaches  a  grand  lesson." — James  Mullin,  Lexington,  Kentucky. 


EDWARD  L.  WILSON,  Publisher,  1125  Chestnut  St.,  Philada. 


134 


THE    PHILADELPHIA    PHOTOGRAPHER. 


GAYTON  A.  DOUGLASS. 


HENRY  G.  THOMPSON. 


Douglass,  Thompson  &  Co. 

229  &  231  State  St,  Chicago,  111. 

MERCHANTS  IN  SUPPLIES  FOE  THE 

Art-Soienoe  of  Pliotograpliy 

Photographers'  Booksellers,  Stationers,  and  Newsdealers. 

CARBUTT'S 

Keystone  Dry  Plates 

AND  PHOTOGRAPHIC  SPECIALTIES. 

Specials  for  Portraiture. 

A.  for  Transparencies. 

B.  for  Landscapes  and  General  Pho- 
tography. 


OPAL    PLATES,  Gelatino-Albumen  or  Gelatino- 
Chlorides,  for  Positives  and  Transparencies. 


«?K15\ 


Multum  in  Parvo  Dry-Plate  Lantern. 

Carbutt's  Pyro.  and  Potash  Developer,  Concentrated, 
Two  8oz.  bottles  75  cents. 

Kuby  Paper  and  Negative  Varnish. 


FOE  SALB  BY  ALL  DEALERS. 


JOHN  CARBUTT,  Keystone  Dry-Plate  Works, 

Wayne  Junction,  Philadelphia,  Pa. 
SAVE  SEVEN  AND  ONE-HALF  DOLLARS 

On  Every  Ream  of  Plain  Salted  Paper  you  Use  by  Buying 

Buchanan,  Smedley  &  Bromley's 

New  Special  Brand  of  SUPERIOR  SALTED  PAPER, 


To  end  the  war  in  prices,  we  step  forward  and  make  one  grand  reduction  in  the  price  of  this 
kind  of  Photographic  Paper.     $28.00  per  Ream,  former  price.     Our  new  price  is 


$20.50  PER  REAM. 


$20.50  PER  REAM. 


Same  size  as  demon's  Matt-surface  and  Morgan's  Salted  Papers.     Sample  sheet  free,  by  mail, 
to  any  address,  upon  receipt  of  6  cents  in  postage  stamps.     Ask  your  local  dealer  for  it. 

BUCHANAN,  SMEDLEY  &  BROMLEY,  25  NORTH  SEVENTH  STREET,  PHILADA. 


THE   PHILADELPHIA   PHOTOGEAPHER. 


135 


PASSAVANT'S  DRY  PLATES 

ARE  CONCEDED  ST  THE  LEADING  PHOTOGRAPHERS 
OF  THE  PACIFIC  COAST  TO  BE 

THE  BEST  AND  MOST  RELIABLE  IN  THE  MARKET. 


CIP, 
HL. 


3Xx4X, 
4x5, 
4^x6^, 
5     x7, 


Specially  for  Portraiture  and  Instantaneous  Views, 
requiring  one-half  the  time  of  other  Dry  Plates, 
working  with  great  softness  and  delicacy. 

For  ordinary  Studio  Work  and  Landscape. 


Per  Doz. 

SO  60 
90 
1  20   I   8 
1   75 


11  x  14, 
14  x  17, 
17x20, 


18x22, 


Per  Dor. 

$6  50 
12  OO 
20  00 
24  00 


Numerous  testimonials  from  all  parts  of  the  States  at  hand.     Try  them. 


Passavanf  s  Photographic  Dry  Plate  Factory, 

306  GUERRERO  STREET,  SAN  FRANCISCO,  CAL. 

OSCAR    FOSS,    SOLE    AGENT    FOR    THE     PACIFIC    COAST. 


HIGHEST  CI  ASS  OF  HAND-PAINTED 
DISSOLVING  VIEW  SLIDES, 

As  Used  at  tie  Late  Royal  Polytechnic,  England. 

Messrs.  WILKINSON  &  00. 

ARTISTS  AND    OTICIANS, 

Not  merely  Colorists  of  Photographs,  as  nearly  all 
other  slide  producers  are,  beg  to  draw  your  special 
attention  to  the  fact  that  they  can  paint  any  subject, 
commencing  on  the  bare  glass.  Any  Engraving, 
Print,  Drawing,  etc.,  can  be  copied  as  Slides,  and 
most  artistically  finished.  They  can  also  color  good 
Photo.  Slides  in  a  far  superior  manner  to  any  other 
house.  Slides  may  be  had  from  3  inches  to  10  inches 
in  diameter.  As  these  slides  take  a  good  while  to  do, 
and  are  only  done  to  order,  customers  must  order 
during  the  summer  months.     Samples  may  be  h  ad. 

15  HOLMESIDE,  BOROUGH  ROAD,  SUNDERLAND. 
Old  or  damaged  Slides  and  Apparatus  repaired.    Condensers  for  all  purposes,  any  size  to  order. 


HODGE  &  HUSTON, 

THE  SOLAR  PRINTERS 

622  Arch  Street,  Philadelphia. 

PERMANENT  PRINTS  BY  THE  PLATINUM  PROCESS. 
■ELECTRIC  LIGHT. 


136  TBE    PHILADELPHIA    PHOTOGRAPHER. 

THE  PLATINOTYPE. 

(PATENTED.) 

WILLIS  &  CLEMENTS,  Proprietors,  25  N.  Seventh  St.,  Philadelphia. 


Endorsed  by  SARONT,  GUTEKUNST,  and  many  others. 


This  process  is  best  adapted  for  Solar  Enlargements,  large  contact  Portrait  Work,  8  x  10  and 
larger,  Copies  of  Paintings  and  Engravings,  Prints  on  Linen,  etc.,  etc.  Amateurs  will  find  this 
process  the  most  artistic  for  Landscapes.  Licenses  sold  to  professionals  and  amateurs  on  reason- 
able terms.     Send  for  latest  instructions.     Address  all  communications  to 

WILLIS  &  CLEMENTS,  Patentees, 

OR  TO 

BUCHANAN,  SMEDLEY  &  BROMLEY, 

General  Agents  for  Sale  of  Materials, 

25  North  Seventh  St.,  Philadelphia. 


ALBERT  MOORE  « SOLAR  ENLARfiER, 

THE  LONGEST,  LARGEST,   AND  BEST. 

828  Wood  Street,  Philadelphia. 
OUR  SPECIALTIES. 


BROMIDE  AMMONIUM,  Chem.  Pure. 

BROMIDE  POTASS.,  Chem.  Pure. 

NITRATE  SILVER,  Chem.  Pure. 

FOR  DRY  PLATES. 

CROSS-SWORD    DRESDEN    ALBUMEN    PAPER, 
Single  and  Extra  Brilliant.    The  Best  in  the  Market. 

ALSO  A  GENERAL  LINE  OP 

PHOTOGRAPHIC   CHEMICALS. 

A  circular,  "  How  to  Save  Waste,"  sent  on  application. 

OHAS.  COOPER  &  CO. 

194  Worth  St.,  New  York. 


THE    PHILADELPHIA    PHOTOGEAPHER 


137 


720  {5  gross)  of  these  trimmers  were  sold  to  one  party  in  July. 


ROBINSON'S 
NEW  MODEL 


PHOTOGRAPH  TRIMMERS ! 


rt  £  D 

-c  -S  p. 

w  In  a 

■a  „-S 

a  X 

a  r-  c 

..  ^  — 


2   S  - 

a  s  s 

^H     M 

"3  mi  .3 


r    °  5 

"  <« 

a    £  o 

Ul        U  ,« 

■SS5  " 


These  invaluable  instruments  are  already  used  all  over  the  country,  and 
now,  a  change  of  form  having  permitted  an  immense  reduction  in  price, 
they  must  soon  be  UNIVERSALLY  USED  as  they  afford  a  quicker, 
better,  and  less  expensive  means  of  trimming  photographs  than  any  other. 
The  inventor  assures  photographers  that  his  trimmers  can  be  used  with 
greater  ease  when  held  as  indicated  in  the  drawings  below.  These  trim- 
mers are  now  made  entirely  of  metal,  and  in  quality  are  fully  equal  to  those 
of  the  old  model.     They  answer  for  oval,  round,  arch  top,  and  square 


■a  s 

w 

wo 

rk. 

jKyi 

ST" 

^Fn^ 

•fit 

Cut  Trimmer 

/     1 

\ 

Plan 

of 

holding  the 

Strai± 

when  in  use.     PRICE 

,  50 

CENTS. 

Plan  of  holding  the  Revolving  Trimmer  when  in 
se.     PRICE  (with  one  card  guide)  $1.00. 


OIBI  NSON'S     GUIDESS. 

MADE   OF   SHEET-IRON. 
We  have  the  following  Regular  Sizes  always  on  hand  at  io  cents  per  inch  the  longest  way  of 
the  aperture. 

SQUARE  OR  ROUND  CORNERED, 

2TVx3|  2T\x3|  2fx4J  4x5| 

2£x3f  2T\x3|  24x4f         4|x5| 

2£x3^  2fx4£  3£x5£         3|x6 

2Ax3tI  '     4x6s 

FOE  STEREOGRAPHS. 
Arch  Tops.  Round  Cornered.  Round 


OVAL! 


2x2| 
2£x3£ 
2|x3| 

2fx3| 
2^x41 


3|x4| 
3fx4f 
3Jx4J 

3fx5i 

4x54 

44x64 


5x7 

5i  x  7-1- 

5fx7| 

5fx7| 

6x8 


6ix8i 

6£x8J 

7x9 

/ 1^  x  y^- 
7f  x  9f 


3^x31,  3x3  3T^x3|,  3x3 


3x3 


The  above  sizes  suit  the  Collins  Card  Mounts,  and  photographers  knowing  that  they  can  be 
always  had  at  the  low  price  of  ten  cents  per  inch,  would  do  well  to  make  their  sizes  accord,  as 
orders  can  also  be  filled  more  quickly.     Ten  days  are  required  to  make  special  sizes. 

Special  Sizes  made  to  order,  at  15  cents  per  inch,  the  longest  way  of  the  aperture. 

ROBINSON'S  PHOTOGRAPH  TRIMMERS  are  substitutes  for  the  Knife  for  Trimming 

Photographs,  and  do  the  ivork  much  more  expeditiously  and  elegantly. 

They  Save  Time,  Save  Prints,  and  Save  Money. 

They  do  not  cut,  but  pinch  off  the  waste  paper,  and  leave  the  print  with  a  neatly  beveled  edge 
which  facilitates  adherence  to  the  mount.  Try  one,  and  you  will  discard  the  knife  and  punch  at 
once.     For  ovals  and  rounded  corners  they  are  worth  their  weight  in  gold. 

Speller?  EDWARD  L.  WILSON,  Manufacturer's  Agent,  1125  Chestnut  St.,  Philada. 

4 


138 


THE    PHILADELPHIA    PHOTOGRAPHER. 


REMOVAL   NOTICE. 

"THE  MOUND  CITY" 

PHOTOGRAPHIC  STOCK  HOJJSE 

Have  Removed  to  their  New  and  Elegant  Building, 

Cor,  Eighth  and  Locust  Streets, 

OPPOSITE  BTBW  CUSTOM  HOUSE  AND  POST  OFFICE. 

Where  they  have  better  facilities,  more  and  pleasanter  rooms,  and  are  better 
prepared  than  ever  before  for  supplying  the  wants  of  their  customers. 


Address 


SEND  ALONG  YOUR  ORDERS. 
H.  A.  HYATT, 

Eighth  and  Locust  Sts.,  St.  Louis,  Mo. 

Send  for  Illustrated    Catalogues  and  Price  List  of   Photographic   Goods  and] 
Picture  Frames. 


PHOTOGRAPHISCHE  MITTHEILKN. 


We  are  now  prepared  to  receive  subscriptions  for  Dr.  Hermann  W.  Vogel's  magazine  bearing 
the  above  title. 

The  MITTHEILUNGEN  is  published  in  German  and  is  issued  semi-monthly  at  $3.00  per  year, 
postage  paid.  To  all  of  our  German  photographers  and  many  others  this  will  be  considered  a 
desirable  opportunity. 

The  Magazine  is  published  at  Berlin.     Subscriptions  received  by 

EDWARD    L.   WILSON, 

1125  Chestnut  Street,  Philadelphia,  Pa 


THE    PHILADELPHIA    PHOTOGRAPHER 


139 


WILSON'S  PHOTOGRAPHIC 


<\( 


+%H  fWTIjSE  @N  EYEl^Y  BOTCfl  ©F  Pp0¥@6^PJIY.^ 


THE  PHILADELPHIA  PHOTOGRAPHER. 

A  monthly  Magazine,  illustrated  by  pho- 
tographs of  superior  merit.  $5.00  a  year ; 
$2.50  for  six  months. 

Stands  ahead  of  all  its  kindred.  Eighteen  years  of 
success  is  a  sufficient  guarantee  of  its  value  and  use  to 
the  practical,  working,  growing  photographer.  Do  not 
go  without  its  valuable  help. 


WILSON'S  PHOTOGBAPHICS 

THE    NEWEST    AND    MOST    COMPLETE 

PHOTOGRAPHIC   LESSON-BOOK, 

Covers  Every  Department. 

352  Pages.    Finely  Illustrated.    Only  $4.00. 

By  Edward  L.  Wilson. 


WILSON'S  LANTERN  JOURNEYS. 

By  Edward  L.  Wilson.     In  Three  Vols. 
Price,  $2.00  per  vol. 

For  the  lantern  exhibitor.  Gives  incidents  and  facts 
in  entertaining  style  of  about  2000  places  and  things, 
including  200  of  the  Centennial  Exhibition. 


THE  PROGRESS  OF  PHOTOGRAPHY 

SINCE   1879. 
By  Dr.  H.  Vogkl.     Price,  $3.00. 

Issued  July  15th,  1883.     A  splendid  work. 


BIGELOW'S  ARTISTIC  PHOTOGRAPHY. 

Price  reduced  to  $4.00. 

For  the  lover  of  art.  Beats  his  "  Album  of  Lighting 
and  posing."  Superb  !  With  twelve  photographs  and 
instructions. 


THE  FERROTYPER'S  GUIDE. 

Price,  75  cents. 

Cheap  and  complete.     For  the  Ferrotyper,  this  is  the 
only  standard  work.     Seventh  thousand. 


STUDIES  IN  ARTISTIC  PRINTING. 

By  C.  W.  Hbakn.     Price,  $3.50. 

Embellished  with  six   fine  cabinet  and  promenade 
portrait  studies. 


PICTORIAL  EFFECT  IN  PHOTOGRAPHY. 

By  H.  P.  Kobinson.     For  the  Art  Photog- 
rapher.   Cloth,  $1.50.    Paper  cover,  $1.00. 


THE 
PHOTOGRAPHIC  C0L0RISTS'  GUIDE. 

By  John  L.  Gihon.     Cloth  hound,  $1.50. 

The  newest  and  best  work  on  painting  photographs. 


PHOTOGRAPHIC  MOSAICS,  1885. 

Cloth  bound,  $1.00 ;  paper  cover,  50  cents. 
Back  volumess.  same  price. 

Better  than  any  of  its  predecessors. 


COPIES  MAILED  POST-PAID  ON  RECEIPT  OF  PRICE, 


EDWARD  L.  WILSON, 

Photo.  Publisher.  1125  Chestnut  St.,  Phila. 


140 


THE    PHILADELPHIA    PHOTOUKAPHEK. 


THIS  FAVORITE  ANNUAL  NOW  READY. 

144  PAGES.— 50  CENTS;   CLOTH  COVER,  $1.00—144  PAGES. 

CONTENTS. 


i.  A  Pot  Pouri  of  the  Past. 

2.  Bits  of  Experience.     Geo.  H:  Croughton,  Phila. 

3.  How  Rapid  are  Dry  Plates?      H.   D.   Garrison, 

Chicago. 

4.  The   Photographic   Dude       J.    Pitcher    Spooner, 

Stockton,  Cal. 

5.  My  Developer.     Wm.  McComb,  Muskegon,  Mich. 

6.  A  Hint  for  the  New  Year.     Marcus   H     Rogers, 

N.  Brimfield,  Mass. 

7.  Energy.     R.  E.  Wood,  St.  Helena,  Cal. 

8.  A  Rapid  Emulsion.     Geo.  Sperry,  Evansville,  Ind. 

9.  Amateur  Photography  a  Teacher.     A.   Bogardus, 

New  York. 
10    A  Few  Photographic  Hints.     H.  K.  Seybold. 

11.  Photographic  Experiences.     Dr.  G.  F.  H  Bartlett, 

Buffalo,  N.  Y. 

12.  Something  Not  Necessarily  Dry.    Chas.  E.  Emery, 

Silver  Cliff,  Col. 

13.  Elevate  Ourselves   First       J.  C.  Moulton,  Fitch- 

burg,  Mass. 
.4.   Photo  -Hash.     J.  A.  Sheriff,  San  Diego,  Cal. 

15.  Weak  or  Strong  Development.    Dr.  H.  Sturenberg. 

16.  How  to  Develop  Landscapes  upon  Dry  Plates,  or 

a   Method  of  Testing   Plates   whose   Time   of 
Exposure  is  Unknown.     Dr   H.  W.  Vogel. 

17.  How   to    Make    Home-made    Retouching    Lead. 

Chas.  Latham,  Bradford,  Pa. 

18.  Something  About  Blisters.     B.  T.  Rice,  Frankfort, 

Kansas. 

19.  How    to    Number    Negatives.       H.    S.    Stevens, 

Keene,  N.  H. 
20    A  Few   Things  to    Save   Money.     H.  G.  Parcell, 
Kingsville,  Mo 

21.  An  Amateur's   Views   on  Prices.     W.  R.  Trippe, 

Goshen,  N.  Y. 

22.  How  I   Got   White   Streaks    on   my   Stereoscopic 

Negatives.     J.  J    Eskill,  Florence,  Wis. 

23.  Practical.     E   E.  Van  Epps,  Hanover,  Kansas 
94.  How  I  Clean  Varnished  Films  from  Old  Negatives. 

E.  D.  Ritton,  Danbury,  Conn. 
25    A  Cood  Copying  Paper.     Dr.  Stevenberg. 
v6.  A    Few    Notes    for    Mosaics.     Will   A.   Triplett, 

Bluffton,  O. 


M.  H.  Albee,  Marlboro, 
P.  Tressler,    Fort    Scott, 


27.  The  Lesson  to  Learn. 

Mass. 

28.  To    Know    How.      S. 

Kansas. 

29.  Whither  are  we  Drifting?     H.  B.  Hillyer,  Austin, 

Texas. 

30.  The  Best  Dry  Plate  Developer.   Dry  Plate  Maker. 

31.  The    Cincinnati    Convention.     Chas.    T.    Stuart, 

Hartford,  Conn 

32.  Home-made   Dry    Plates.     Jay  Densmore,  Niles, 

Mich. 

33.  Practical,    Pointed,    and   Clear.     John  D.  Miller, 

Elizabethtown,  Pa. 

34.  A   Very    Convenient   Washing   Box.     Mrs.  E.  N. 

Lockwood,  Ripon,  Wis. 

35.  On  the  Reduction  of  Negatives.     H.  K.  Seybold. 

36.  A  Warning.     Henry  Piatt,  Nantucket,  Mass. 

37    Slow  Development — a  Word  to  Beginners.     Alfred 
Ganze. 

38.  Home-made  Plates      Ranald  Douglass,  E.  Gardi- 

ner, Mass. 

39.  A  Cleaning  Solution  for  Gelatine  Negatives  and 

Positives.     R.  G.  Weiss. 

40.  Gleanings  From  my    Last  Year's   Reading.     Old 

Gray-beard. 

41.  An   Automatic   Washing   Tank.     Geo.    W.  Leas, 

Peru,  Ind. 

42.  Smoked  Negatives.    W.  H.  Sherman,  Milwaukee, 

Wis 

43.  Hints  to  Amateurs.  Xanthus  Smith,  Philada.,  Pa 

44.  A  Workman's  Idea.     H.  S.  Keller,  Utica,  N.  Y. 

45.  About  Prices.     John  C.  Patrick,  Batavia,  N.  Y. 

46.  Exposure      Ellerslie  Wallace,  M.D.,  Philada. 

47.  On  the  Delectable  Dry.     Wm.  H.  Rau,  Philada. 

48.  Photography  in  its  Relation  to  Art.  John  Bartlett, 

Philada. 

49.  The  Attractive  Properties  of  a  Photograph.     C.  M. 

French,  Garrettsville,  O. 

50.  A  New   Method   of  Developing   Dry  Plates.     D. 

Bachrach,  Jr.,  Balto    Md 

51.  Our  Way   is   our   Hobby.     Miss  H.  H.  Flanagin, 

Woodstown,  N.J. 
52    "  Nothing  to  Say."     J.  H.  Hallenbeck,  N.  Y. 


EDWARD  L.  WILSON,  Photo.  Publisher,  No.  1125  Chestnut  Street,  Philada. 

FOR  SALE  BY  ALL  DEALERS. 


THE  PHILADELPHIA  PHOTOGKAPHEK. 


141 


SOOVILL'S 

NEGATIVE  WASHING  BOXES. 


GUARANTEED  NOT  TO  RUST. 

It  is  necessary  at  a  certain  stage  of  development  to  remove  from  photographic  nega- 
tives all  traces  of  Hyposulphite  of  Soda,  and  it  is  not  generally  convenient  to  place  them 
where  water  will  flow  over  their  surface  a  sufficient  length  of  time  to  accomplish  this  effec- 
tually, without  injury  to  the  sensitive  film.  To  watch  the  plate  is  to  waste  time.  The 
flow  over  it  should  be  with  gentle  force.  This  can  best  be  regulated,  and  a  thorough 
cleansing  from  Hyposulphite  of  Soda  of  every  portion  of  the  negative  be  assured,  by  the 
employment  of  one  of  the  Negative  Washing  Boxes  above  pictured.  Plates  are  simply 
slid  into  the  grooves,  a  guarantee  that  the  film  will  not  be  disturbed  or  marred ;  a  bit  of 
hose  is  slipped  over  a  tap,  and  then  at  the  other  end  over  the  spout  on  the  box.  If  need 
be,  another  section  of  rubber  tubing  is  used  to  carry  off  the  waste  water  to  an  outlet. 
After  this  simple  preparation  the  Washing  Box  is  in  readiness  for  service. 


1 

PRICE  LIS 

T1 

Ms          J 

1 

-a)^J> 

No.  1, 

for  3J  x    4J  Plates,  . 

.    $1   20 

"   2, 

"4x5 

a 

1  25 

"  3, 

"    4^x    5J 

a 

1  30 

"  4, 

"    4^-x    6J 

a 

1  35 

"   5, 

"5x7 

if 

1  40 

"   6, 

"5x8 

u 

1  50 

"  7, 

"    6Jx    8J 

it 

1  75 

"   8, 

"    8    xlO 

u 

2  25 

LARGER  SIZES  MADE  TO  ORDER. 
Painted  Negative  Washing  Boxes,  4  O  cts.  additional  for  each  size. 

Oloth  Eubber  Hose  Supplied  for  the  above  Boxes  at  28  cts.  Per  Foot. 
SCOVILL  MANUFACTURING  CO. 


142 


THE    PHILADELPHIA    PHOTOGEAPHER 


A  SPLENDID  THING  FOR  PHOTOGRAPHERS. 

■J\.     METALLIC 

PROTECTING    CASE, 


With  Glass  Bottle  and  Graduate  Tumbler,  for  Photo.  Developer 
and  other  Solutions. 

Those   who    have  worked    in 


the 


field  have  wished  very  often  for  some 
safe  method  of  carrying  with  them 
their  developer  and  other  chemicals  in 
solution.  A  most  useful  article  is  in 
the  market  which  answers  the  purpose. 
We  allude  to  the  patent  metallic  pro- 
tecting cases  invented  for  similar  pur- 
poses. The  bottles  may  be  of  ordinary 
shape  so  they  fit  the  metal  case,  M'hich 
latter  is  drawn  from  solid  metal,  with 
a  locking  ring  on  each  case  to  afford 
perfect  protection  for  the  bottles  con- 
taining the  liquids  which  are  trusted 
to  their  care.  They  are  made  of  dif- 
ferent sizes  :  bottles  of  one,  two,  four, 
and  eight  ounce  mixtures,  and  each 
case  is  made  adjustable  to  bottles  of 
different  lengths.  They  are  made  very 
light,  and  the  corrugation  makes  them 
so  strong  as  to  resist  crushing.  They 
can  be  packed  in  any  position.  The 
metal  is  drawn  of  even  thickness 
throughout,  by  machinery  which  has 
the  weight  of  thirty  thousand  pounds. 

The  first  figure  represents  the  case 
closed,  and  the  second  open  with  the 
bottle  therein.  The  use  of  this  arrange- 
ment assures  the  photographer  that  he 
has  a  safely  kept  stock  on  hand  of  any 
needful  solution. 

^ — •*■ PRICE   LIST. * — *-e 

Diameter,  \ys  in.     Length,  3%  in.    Weight,  4^  oz.    Furnished  with  1  oz. 
bottle,  each,     .  .         .  ...  $050 

Diameter,  2  in.     Length,  By2   in.    Weight,  ?}{   oz.    Furnished  with 
4  oz.  bottle,  with  tumbler,  making  %  pint  flask,  each, 0  85 

Diameter,  2^    in.    Length,   7  in.     Weight,  14   oz.    Furnished  with 
8  oz.  bottle,  with  tumbler,  making  %  pint  flask,  each,.  .      1  10 

Nfl     1^    A  Diameter,  2%   in.     Length,  6   in.    Weight,  17  oz.    Furnished  with 

11 U.   1U   A.     8  oz.  bottle,  with  tumbler,  making  ]/2  pint  flask,  each,  .120 


No.  1. 
No.  3  A. 
No.  4  A. 


J8@rTRY    THEM.      NO    MORE    LEAK    OR   BREAK 

SCOVILL  MANUFACTURING  CO, 


W.  Irving  Adams,  Agent. 


423  Broome  Street,  New  York. 


THE    PHILADELPHIA    PHOTOGRAPHER 


143 


Gc.  OE33xri\rEsn.ir? 

No.  54  East  Tenth  Street,  New  York. 

SOLE  IMPOETEE  OF 

C.  BOHMKE  &  CO.'S  IMPROVED  APLANATS. 

THE  BEST  LENSES  FOR  PORTRAIT,  RAPID  LANDSCAPES 
AND  GROUPS  YET  INTRODUCED. 


Mr.  Bohmke,  who  has  been  superintending  foreman  for  Voigtlander  &  Son  for  25 
years,  has  lately  brought  out  the  above  designated  instrument,  which  is  in  every 
respect  equal,  if  not  superior,  to  the  "Euryscope,"  combining  a  large  field,  perfect 
definition  and  brilliant  illumination  in  the  highest  possible  degree. 

JAJ««B  *  MAGEE  &  OQ 


MANUFACTURERS  OF   PURE 


Photographic  Chemicals, 

JIo.  622  J^ace  Street,  Philadelphia. 


The  Standard  Quality  and  Purity  of  our  Chemicals  make  them  the  most 
desirable  and  reliable  for  photographic  use. 


-fe+STOCKDEALERS   ONLY  SUPPLIED.* 


PPPIflPPS  of  GOJJD  and  Sipvpp  WASTP- 

Waste  sent  through  Stockdealers  will  receive  prompt  attention. 


144  THE    PHILADELPHIA    PHOTOGRAPHER. 


A    GREAT  SUCCESS! 


THE 

NEW  DRESDEN  ALBUMEN 


THREE  CROWN  PAPER. 


^JadeMaJ^ 


tTSdeM^ 


For  Sale  by  all  Photo.  Stockdealers. 


SCOVILL  MANUFACTURING  CO., 

NEW  YORK. 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


145 


On  and  after  March  1st,  I  will  make  the  following  Reduction : 


4  x5 

5  x  7 


$    50 

5x8 

#1  45 

14x17 

75 

6^x8^      . 

1  90 

16  x  20 

85 

8      x  10 

2  80 

17x20 

1  05 

10  x  12 

4  50 

18x22 

1  30 

11   x  14 

5  85 

20  x  24 

£10  50 

14  50 

15  25 
18  00 
21  50 


CRAMER'S  LIGHTNING  PLATES. 


S^*- 


.$. 2--c> 


TO  MEET  THE  DEMAND  FOR 

An  Extremely  Rapid  Plate 

I  am  now  making  the  above  new  brand  (blue  label),  which  is  about  twice  as  rapid 
as  my  "Extra  Eapid"  and  nearly 

TWENTY  TIMES  MORE  RAPID  THAN  COLLODION. 


THIS  NEW  PLATE  COMBINES 

EXTREME  RAPIDITY, 

FINE  CHEMICAL  EFFECT, 

PERFECT  CLEARNESS, 

GOOD  INTENSITY, 

EASY  TO  DEVELOP, 

And    CANNOT    BE    EXCELLED. 


For  all  cases  where  Extraordinary  Eapidity  is  desirable  and  for  Large 
Work  these  "Lightning  Plates"  will,  upon  trial,  prove  their  superiority  over 
all  others. 

My  regular  brand,  the  "Extra  Eapid"  (yellow  label),  which  is  so  well 
known  and  sufficiently  sensitive  for  general  use,  will  be  kept  up  to  its  usual  high 
standard. 

BOTH  BRANDS  SAME  PRICE. 

WILL    BE    FOR    SALE    BY    ALL    DEALERS. 


DRY-PLATE  WORKS,  ST.  LOUIS,  MO. 


146  THE    PHILADELPHIA    PHOTOGEAPHEK. 


GIHON'S 

CUT-OUTS 

An  Entirely  New  Variety  for 

Printing  Medallion  Pictures. 


Are  the  very  best  that  are  made,  and  are  now  without  a  rival  in  the  market.  They  are  clean 
cut,  most  desirable  shapes  and  sizes,  and  made  of  non-actinic  paper,  manufactured  specially  for  the 
purpose.  Each  package  contains  30  Cut-Outs,  or  Masks,  with  corresponding  Insides,  assorted  for 
five  differently  sized  ovals  and  one  arch-top. 

Price^  $1.00  per  Package.    Sent  by  mail  on  receipt  of  price. 

Parties  wishing  special  sizes,  or  large  lots  of  a  few  sizes,  may  have  them  cut  to  order  promptly, 
by  addressing  the  manufacturer.      No  lot  costing  less  than  $1.00  made  at  a  time. 
^*No  printer  should  attempt  to  make  Medallion  Pictures  without  them. 

They  Have  no  Equal  for  Quality. 

Beware  of  spurious  imitations  made  of  common  paper,  full  of  holes,  badly  cut,  and  odd  shapes  and 
sizes.  Ask  your  Stock-dealer  for  GIHON'S  CUT-OUTS,  and  see  that  they  are  in  his  envelope,  with 
instruction  circular  included.  The  recent  packages  are  composed  of  an  entirely  new  variety  and  ot  a 
new  paper.     TRY  THEM. 

Promenade  Size  now  Eeady,        Sold  Separately  at  50  cents  per  Dozen. 


GIHON'S  OPAQUE 

Is  designed  for  Completely  obscuring  the  Imperfect  Backgrounds  of  Copies,  Retouching  Nega- 
tives, Faulty  Skies  in  Landscapes,  Coating  the  Inside  of  Lenses  or  Camera  Boxes, 
Backing  Solar  Negatives,  Covering  Vignetting  Boards, 
And  for  Answering  all  the  Requirements  of  the  Intelligent  Photographer  in  the  Production 

of  Artistic  Results  in  Printing. 

Wherever  you  want  to  keep  out  Light,  use  Opaque. 

IT  IS  APPLIED  WITH  A  BRUSH,  DRIES  CfcUICKIiY  AND  STICKS. 


CUT-OUTS  (thirty),  $1.00.         OPAQUE,  SO  Cents. 

FOR  SALE  BY  ALL  DEALERS. 


Address  all  orders  to 

SCOVILL  MANUFACTURING  CO.,  New  York. 


THE    PHILADELPHIA    PHOTOGEAPHEK.  147 

BEST 

^SS    DRESD^ 

EXTRA  £#M|  BRILLIANT 

4^UMEN  PA?^ 

Ever  Offered  to  Photographers. 

WHITE,  PINK,  PENSE. 


FREE  FROM  BLISTERS  AND  IMPERFECTIONS. 


A  NEW  PAPER.    NOW  READY. 

EAGLE  SATIN  FINISH, 

IN  PENSE  AND  PEARL. 

Although  my  importations  of  paper  have  had  a  most  satisfactory  sale,  and  the  old  favorite 
brands  will  be  continued  in  the  market  of  the  same  quality,  I  have  a  New  Brand  which  I  offer 
for  public  favor  which  I  believe  to  be  SOMETHING  SUPERIOR. 

«@~$36.00  A  REAM.^a       *^°A  REAM  $36.00.~«® 

FOB  SALE  BY  ALL  DEALEBS. 

IMPORTED  BY 

G.  GENNERT, 

54  E.  TENTH  ST,  NEW  YORK 

FOR    SALE    BY    ALL   DEALERS. 


EASTERN  AGENT  FOR  THE  CRAMER  DRY-PLATES. 


i48  THE    PHILADELPHIA    PHOTOGRAPHER. 

A.  M.  Collins,  Son  &  Co. 

MANUFACTURE  ALL    KINDS    OF 

CARDS  AND  CARDBOARDS 

FOR 

PhotqgrapherS 


AND 


MATS.  MOUNTS.  AND  ENVELOPES 


FOR 


FERROTYPES. 


OFFICE  AND  WAREHOUSE, 

No.  527  ARCH  STREET, 

PHILADELPHIA. 


Price  Lists  may  be  had  by  intending  purchasers  on  application 

to  us,  or  to  all  Photographic  Merchants,  through  whom 

your  favors  are  respectfully  solicited. 


THE    PHILADELPHIA    PHOTOGEAPHER. 


149 


T 


TH£SM! 


WAYMOUTH'S  VIGNETTE  PAPERS. 


No.  15H, 

THE 

Ormsljy  Pattern, 

PEAR  SHAPE 

Now  Ready, 

$1.00  PER  DOZ. 


They  are  not  clumsy  ;  do  not 
break;  are  always  ready ;  cost 
but  little,  and  are  easy  of  appli- 
cation to  any  negative.  They 
need  but  one  adjustment  toprint 
any  quantity.  They  entirely 
do  away  with  all  the  old  and 
troublesome  methods,  either 
wood,  metal,  or  cotton. 


19  Sizes 

ARE 

Now  Made 

PEAR  SHAPE. 

Prices  Below. 


They  are  printed  in  black 
for  ordinary  negatives,  yellow 
bronze  for  thin  negatives,  and 
red  bronze  for  still  weaker  ones. 
Directions  for  use  accompany 
each  parcel. 


SEE  WHAT  THOSE  WHO  USE  THEM  SAY. 

The  Vignette  Papers  are  just  the  thing.  They  are  a  great  improvement,  and  will  print 
in  little  more  than  half  the  time  required  for  others.  The  results  are  everything  that  can 
be  desired,  as  you  can  see  by  samples  inclosed.  E.  D.  OKMSBY,  San  Francisco. 

FROM  PROFESSIONAL  AND  AMATEUR  PHOTOGRAPHERS. 

"  First-class." — "  The  sample  sent  answers  perfectly." — "  I  consider  them  first-rate  articles." — "  They  answer  the 
purpose  admirably." — "  They  are  the  best  vignettes  I  have  ever  had,  and  as  you  can  print  in  I  nil  sunlight,  they  are  a 
great  saving  of  time." — "They  could  not  be  better,  oblige  me  with  another  packet." — "  I  find  them  excellent,  giving 
much  softer  pictures  than  the  old  way." — "I  have  tried  one  of  the  Vignette  Papers,  and  like  it  much;  send  me 
packets  two  and  three." — "  I  am  much  pleased  with  them,  and  shall  thank  you  to  send  meanotner  packet." — "I  did 
not  need  any  copies  of  testimonials,  having  well  known  by  experience  that  your  Vignette  Papers  were  superior  to 
anything  I  have  ever  used." — "  I  found  those  you  sent  before  excellent." — "  Vignetting  Papers  received  and  tested  ; 
can't  be  beat.  I  use  by  cutting  an  opening  in  a  piece  of  card-board  and  tacking  to  the  printing-frame,  when  I  am  ready 
for  printing  vignettes  in  the  very  best  manner." — "  Waymouth  Vignette  Papers  I  have  tried,  and  they  are  just  what  I 
have  been  wanting  for  years." 

THOSE  WHO  SELL  THEM! 


ALL  STOCK-DEALERS 


INCREASE 
THEIR 


ORDERS  LARGELY 


EVERY 
MONTH 


Better  than  any  patent  machine— trouble,  and  sell  better  every  month. 

PRICES: 

In  parcels  containing  one  dozen,  assorted,  from  Nos.  1  to  5 $0  50 

In  parcels  containing  one  of  each  size,  Nos.  1  to  15,  assorted  colors 1  00 

Assorted  sizes  and  colors,  by  number,  per  package  of  15 1  00 

Nos.  1,  2,  3,  4,  and  5,  assorted  sizes  and  colors,  for  Cartes,  by  number,  per  doz 50 

"     6,  7,  11,  12,  and  13,     »          »                  »       Large  Cartes  and  Victorias  by  number,  per  doz 75 

»     8,  9,  10,  14,  15,  and  15J^,  assorted  sizes  and  colors,  Cabinets  and  Whole-size,  by  number,  per  doz 1  00 

»     16,17,18,                                ,,                 »             „     'Half           >.               »                     »               »       125 

When  ordering,  state  the  number  and  color  you  want. 

EDWARD  L.  WILSON,  Manufacturer,  1125  Chestnut  St.,  Philad'a. 

FOR  SALE  BY  ALL  DEALERS. 

No.  18,  PEAR  SHAPE,  LAST  INTRODUCED,  $1.25. 


150  THE    PHILADELPHIA    PHOTOGRAPHER. 

HANCE'S 

SPECIAL — - 


SPECIALTIES. 

I  Anderson's  Portrait  Collodion. 
This  is  especially  a  Winter  Collodion,  and  guaranteed  to  work  with  the  loveliest  har- 
mony, and  the  most  exquisite  softness,  and  freedom  from  all  the  winter  troubles 
which  Photographic  Collodion  is  heir  to.     B^"  None  genuine  unless  the  signature  of  Elbert 
Anderson,  the  great  dark-room  operator,  author,  etc.,  is  pasted  over  tne  cork  of  the  bottle. 

II 


Ground  Glass  Substitute. 


Is  an  indispensable  article  in  the  photographic  gallery.     There  are  so  many  uses 
to  which  it  can  be  applied  that  a  photographer  having  once  given  it  a  trial,  will 

never  be  without  it,  as  there  is  nothing  known  that  will  take  its  place. 

The  substitute  is  in  the  form  of  a  varnish,  is  flowed  and  dried  the  same  as  varnish,  but 

dries  with  a  granulated  or  ground-glass  surface. 

For  Ground  Glass  for  Cameras. 
"     Glazing  Sky  and  Side  Lights. 
"     Obscuring  Studio  and  Office  Doors. 
"    Printing  Weak  Negatives. 


For  "Vignette  Glasses. 
"    a  Retouching  Varnish. 
"    Softening  Strong  Negatives. 
"    the  Celebrated  Berlin  Process. 


All  imitators  have  given  it  up.     They  can't  make  it.     GIVE  IT  A  TEIAL. 

PRICE,  50  CENTS  PER  BOTTLE. 


Ill 


Hance's  Delicate  Cream  Gun 

Cotton  Is  the  King  Cotton,  and  has  no  peer. 


Prepared  with  particular  care,  warranted  free  from  acid,  and  very  soluble.  It  has  made 
its  way  steadily  and  surely  into  most  of  the  principal  galleries  in  the  country,  where  parties 
prefer  to  make  their  own  collodion,  and  its  superior  qualities  are  shown  in  the  medals 
awarded  at  the  Centennial,  Vienna,  and  Paris  Exhibitions  for  photographs  made  with  col- 
lodion in  which  it  was  used. 

It  is  especially  adapted  to  the  Rembrandt  style,  and  light  drapery.  Its  sensitiveness 
renders  it  particularly  adapted  for  children  or  any  work  that  requires  short  exposure,  though 
admirable  as  well  for  all  work. 

PRICE,  80  CENTS  PER  OUNCE. 

Also,  trask's  ferrotypeTTi  fl  T  T  ft  ft  T  ft  111 

HANCE'S  DOUBLE  IODIZED  jUULLUlllUll 

PRICE,  $1.50  PER  POUND. 

FOR  SALE  BY  ALL  STOCK-DEALERS.  NO  RETAIL  ORDERS  FILLED.  ORDER  OF  YOUR  DEALER 

SCOVILL  MFG.  CO.,  TRADE  AGENTS,  NEW  YORK. 


THE    PHILADELPHIA    PHOTOGKAPHEE.  151 

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152 


THE    PHILADELPHIA    PHOTOGKAPHEK 


JOHN   G.  HOOD. 


ESTABLISHED    1S65. 


WM.  D.  H.  WILSON. 


>>J  \  V>  825  Arch  Street,  C>  Q 

PHILADELPHIA, 

SOLE  AGENTS  IN  THE  UNITED  STATES  FOR  THE 


Centennial,  1876. 


Centennial,  1871 


Ross'  Portrait  and  View  Lenses. 


WE  HAVE 

NOW 
IN  STOCK 


Portrait  Lenses,  from  1-4  to  8  x  10. 

Cabinet  Lenses,  Kos.  2  and  3. 

Card  Lenses,  Nos.  1,  3,  and  3. 
|    Triplets,  Nos.  1,  3,  3,  4,  5,  6,  and  7. 
|_  Symmetricals.     Rapid  Symmetrical. 


Instantaneous  Doublets,  all  sizes. 
Medium  Angle  Doublets,  all  sizes. 
Large  Angle  Doublets,  all  sizes. 
Stereograph ie  Lenses,  all  sizes. 
New  Universal  Lens. 


Numerous  testimonials  pronounce  them  to  be  the  best  as  well  as  the  cheapest  Foreign  Lenses  ever 
offered  to  the  American  Photographer.    We  will  mail  price  list  on  application,  and  promptly  fill  all  orders. 


Steinheil's  Sons' 


-"NEW-— 
APLANATIC 


Lenses, 


We  now  have  a  full  stock  of  these  Celebrated  Lenses,  at  the  following  prices  . 


No.  1—  1-4  size, ZV2  inch  focus, $25  00 

»    3—  1-3      »       5i/        »  »        30  00 

»    3—4-4      »       7  »  »        45  00 


No.  4—  8x10  size,...  10#  inch  focus,.. .$60  00 

»    5—10x13      >»       ...13^       »  »     70  00 

»    6—13x16      »      ...16/       »  »     ....110  00 

Nos.  1  and  2  are  in  matched  pairs  for  stereoscopic  work. 
We  feel  sure  that  at  least  one  of  these  lenses  is  needful  for  the  successful  prosecution  of  your  busi- 
ness, and  so  solicit  your  orders.     Always  in  stock,  to  suit  above  Lenses,  CAMERA  BOXES  made  by 
AMERICAN  OPTICAL  CO.,  SEMMENDINGER,  ANTHONY,  BLAIR,  etc 

WE  KEEP  IN  STOCK  PULL  ASSORTMENT  OP 

AMATEUR  PHOTO.  OUTFITS 

DRY    PLATES    OF   ALL    MAKES. 

N.  P.  A.  EAGLE  and  S.  &  M.  PAPER,  PER  REAM,  $30.00. 

Any  article  needed  we  can  supply,  as 
WE  MANUFACTURE,  IMPORT,  AND   DEAL  IN  ALL  KINDS  OP 

Photo.  Goods,  Frames,  Stereoscopes  and  Views, 

At  prices  as  low  as  are  consistent  with  the  quality  of  goods  furnished.  We  are  indebted  to  our 
customers  for  the  patronage  during  the  past  Nineteen  Years,  and  our  efforts  shall  be  to  merit  a  con- 
tinuance of  it. 

Illustrated  Price  Lists  supplied  free.    Correspondence  solicited. 


OF  AGE! 


Twenty-one   years   of  service   as   a    Photographic    Magazine 
having    heen    fully    completed   hy    The    Philadelphia 
Photographer,  it  can  now  fully  claim  to  he 
"OF  AGE." 

It  was  born  when  our  art  was  itself  only  a  stripling,  and  having  grown  up  with  it  and  lived  for 
it,  now  comes  with  confidence  to  the  craft  for  support  during  its  Twenty-second  year. 

Under  the  same  editorial  care  which  gave  it  birth  and  name,  it  will  continue  its  good  work  in 
the  interests  of  the  art  of  Photography,  with  brighter  prospects  of  usefulness  and  success  than  ever 
before.  In  looking  back  upon  its  past  record,  the  editor  and  publisher  thinks  he  has  won  the 
right  to  claim 

TWELVE  REASONS  WHY  "THE  PHILADELPHIA  PHOTOGRAPHER"  SHOULD  HAVE  THE 
PATRONAGE  OF  ALL  LOVERS  OF  OUR  ART,  AS  FOLLOWS : 

I.  The  photographic  studies  issued  with  each  number  are  a  great  help  to  workers  under  the 
skylight,  and  well  worth  the  price  asked  for  the  whole  magazine.  Over  forty  of  these  studies 
were  supplied  last  year,  and  some  fine  gems  are  preparing  for  1885. 

2  The  editor  having  been  connected  with  the  art  for  over  one-half  of  its  existence,  is  wholly  in 
sympathy  with  the  working  craft,  and  well-knows  their  wants  to  supply  them. 

3.  Its  ability  to  anticipate  the  wants  of  the  craft  is  secured  by  its  connection  with  the  practical 
men  of  our  art  all  over  the  world;  and  the  same  long  connection  creates  a  ready  means  of 
obtaining  promptly  all  that  is  needed. 

4.  Its  enterprise  in  taking  up  and  making  popular  and  easy  all  good  processes  and  measures  is 
proverbial. 

5.  Its  war  upon  low  prices,  and  its  endeavors  to  lift  up  the  fraternity  to  better  ones,  as  well  as 
its  usefulness  in  winning  the  press  and  the  public  to  a  better  appreciation  of  our  art,  are  well  known 
to  all. 

6.  It  has  always  been  quick  in  discovering  and  exposing  frauds,  humbugs,  and  attempts  to  injure 
its  patrons.     It  is  operated  for  the  good  of  its  patrons. 

7.  Its  long  standing  as  an  authority  in  our  art,  has  won  it  connection  with  scientists  and  scientific 
bodies  all  over  the  world,  who  send  their  new  things  to  its  editor  first,  over  all  of  its  class. 

8.  Its  circulation  is  International.  There  is  not  a  land  where  English  is  read  that  it  does  not  go 
to.     It  also  circulates  in  every  State  in  the  Union,  about  as  follows : 

New  England,        .        .    21.5  per  cent.  Western  States,      .  34.4:  per  cent. 

Middle  States,  .        .    24.1         "  Canada 8.3  " 

Southern  States,     .        .    16.4  "  Foreign,     ....       5.3  " 

Thus  giving  the  best  means  of  advertising,  and  thus  securing  the  best  circulation  among  the 
active  votaries  of  the  art. 

9.  Its  form  has  been  adopted  by  all  the  other  American  magazines  of  our  art  (all  its  junior), 
but  its  quality  and  artistic  appearance  have  not  been  reached  by  any. 

10.  Its  standing  as  the  leading  magazine  of  its  kind,  has  been  maintained  ever  since  it  began. 
**  It  is  the  best  of  its  class,"  say  press  and  patrons. 

II.  Its  success  has  been  a  success,  though  its  price  is  higher  than  that  of  any  of  its  con- 
temporaries. The  best  artists  often  write,  "  I  don't  care  how  many  other  journals  there  are,  or 
how  low-priced.  I  must  have  The  Phii  adelphia  Photographer." 

12.  It  is  the. cheapest  of  all,  because  "  the  best  is  always  the  cheapest."  You  cannot,  therefore, 
afford  to  do  without  it. 

SUBSCRIBE  NOW.     $5.00  a  year ;  $2  50  for  six  month;  50  cts.  a  copy. 

It  has  been  our  custom  for  many  years,  to  give  old  subscribers  a  premium  for  new  subscriptions 
sent  in  addition  to  their  own.  We  continue  this  plan  by  offering  one  dollar's  worth  of  our 
publications  for  each  such  additional  subscriber  for  a  year.  Please  do  all  you  can  to  increase  our 
usefulness  in  behalf  of  the  glorious  art  of  photography.     It  is  to  your  interest  to  do  so. 

For  1885  we  have  some  useful  schemes  and  novelties  under  way,  which  will  be  presented 
from  time  to  time.  Our  old  subscribers  are  asked  to  renew  now  for  1885,  so  that  the 
January  issue  will  reach  promptly.     IT  WILLi  BE  A  GEM. 

Contributions  from  both  Actives  and  Amateurs  are  invited.  Proceedings  of  Societies  are  very 
useful  and  should  be  sent  promptly. 

EDWARD  L.  WILSON,  Editor,  Publisher,  and  Proprietor,  1125  Chestnut  St.,  Phila. 


NOTICE   TO    SUBSCRIBERS. 


In  remitting  by  mail,  a  post-office  or- 
der, or  draft,  payable  to  the  order  ot 
Edward  L.  Wilson,  is  preferable  to 
bank-notes.  Postage  stamps  of  the 
denomination  of  two  and  five  cents 
each  will  be  taken.  Clearly  give  your 
Post-Office,  County,  and  State. 

Foreign  subscriptions  must  be  ac- 
companied by  the  postage  in  addi- 
tion. 


ADVERTISING  sheets  are  bound 
with  each  number  of  the  Magazine. 
Advertisements  are  inserted  at  the  fol- 
lowing rates : 

One         Six        One 
Month.  Months.   Year. 

One  Page #20.00  #110.00  #200.00 

Half    "    12.00       66.00     120.00 

Quarter  Page...  7.00  38.50  70.00 
Eighth  '*  ...  4.00  22.00  40.00 
Cards,    6   lines 

orless 2.00       11.00       20.00 


The  attention  of  adverttsers,  and 
those  having  galleries,  etc.,  for  sale 
is  called  to  our  Specialties  pages 
Terms,  $2  for  six  lines,  and  25  cents  for 
each  additional  line,  seven  words  to  a 
line,  always  in  advance.  Duplicate 
insertions,  50  cents  less,  each. 

We  have  added  an  Exchange  Colum  n 
to  our  Magazine,  wherein  photogra- 
phers having  articles  for  exchange  can 
insert  advertisements  at  the  low  price 
of  15  cents  per  line,  or  fraction  of  a 
line,  of  seven  words  to  a  line. 

Operators  desiring  situations,  no 
charge. 


Blair's  Cameras. 


co/VA/vr  -sssra/j. 

8  x  10  Portrait  Camera,  with  14  x  17  Extension  Attached. 

WE  DO  NOT  CLAIM  to  MAKE  THE  CHEAPEST,  but  THE  BEST. 

They  are  adapted  to  the  uses  of  both  professional  and  amateur,  and  combine  all  the  desirable 

improvements.     We  beg  to  call  your  attention,  in  this  issue,  to  our  Combination  Portrait  Camera. 

Bear  in  Mind  that  our  Cameras  cost  no  more  than  others  of  best  make,  which  are  not  adapted  to 

receive  our  Patent  Extension;  by 
purchasing  one  of  our  Cameras 
without  the  Extension,  the  latter 
can  be  had  at  any  time  without 
extra  cost  of  fitting,  as  in  the  case 
when  we  fit  our  Extension  to 
Cameras  of  other  makes. 

To  accommodate  purchasers  we 
have  completed  arrangements  with 
these  houses  to  carry  a  heavy  line  of 
our  goods.     The  stores  occupied  by 
them  are  of  the  best  in  their  respec- 
tive cities,  and  assistants  thoroughly 
acquainted  with  the  wants  of  pro- 
I  fessionals  or  amateurs  will  be  found 
■'  ready  to  comply  with  your  requests. 
All   articles  manufactured  by  us 
8  x  10  Portrait,  without  the  Extension,  Douhle  Plate-Holder  in  Position,      will  be  found  ill  Stock. 

THE  BLAIR  TOUROGRAPH  AND  DRY-PLATE  CO. 

Factory,  471,  475  and  477  Tremont  St.  BOSTON,  MASS. 


AGENCIES  AND  WAREROOMS, 

BLAIR  &  PRINCE.  W.  T.  GREGG, 

148  W.  Fourth  St.,  Cincinnati,  Ohio.  318  Broadway,  New  York. 

(SEE  PAGE  82.) 


22d  YEAR. 


IIVE-ATST,  1883, 


Number  257. 


50  Cents. 


THE 


PHILADELPHIA 


lwt0jjra$te< 


AN  ILLUSTRATED  MONTHLY  JOURNAL, 


DEVOTED  TO   PHOTOGRAPHY. 


EDITED  BY  EDWARD  L.  WILSON. 


PHILADELPHIA:   EDWARD  L  WILSON, 

PUBLISHER  AND   PROPRIETOR, 

No.  1 1 25  Chestnut  Street. 

SUBSCRIPTIONS  RECEIVED  BY  ALL  NEWS  AND  STOOKDEALERS. 
Five  Dollars  per  Annum,  in  Advance. 


T5» 


F.ntered  at  the  Post-Office  at  Philadelphia  as  second-class  matter. 


WILSON'S  PHDTOGRAPRTCS,  Fourth  Thousand,  $4.00.  apEB5W¥ 


SUMMARY    OF    CONTENTS. 


PAGE 

Photography  at  the  New  Orleans  Exposition,  .  129 

Our  Picture, 134 

On  Prints  and  Printing, 135 

A  Photographic  Visit  to  some  of  Our  Battle- 
fields.    By  William  H.  Rau, 136 

Photographic  Experience  at  the  New  Orleans 

Exposition.  By  G.  Hanmbr  Croughton,  .  138 
Isochromatic  Photography.  By  Fred.  B.  Ives,  141 
Walter  B.  Woodbury, 144 


PAGE 

A  Word  in  Defence  of  the  Amateur,  ....  145 

Society  Gossip 146 

A  Few  Hints  on  Developers, 148 

Some  of  the  Beauties  of  Dry-Plate  Working. 

By  Thomas  Pray,  Jr., 150 

Pertaining  to  the  P.  A.  of  A., 154 

Obituary, •     .     .     •  155 

On  the  Exercise  of  Taste  in  Photography,  .     .  155 
Editor's  Table, 157 


Embellishment. — Over  the  Sea.     W.  Wykes,  Grand  Rapids,  Mich. 


ADVERTISEMENTS. 


ALLEN  BROTHERS.     The  Suter  Lens. 
ANTHONY  &  CO.,  E.  &  H.  T.     The  New  N.  P.  A 

Pensg  Extra  Brilliant  Dresden  Albumen  Paper. 
BIGELOW'S  ARTISTIC  PHOTOGRAPHY. 
CARB  UTT,  J.     Gelatine  Dry  Plates  and  Improved 

Dry  Plate  Lantern. 
COLLINS,  SON  &  CO.,  A.  M.     Photograph  Cards. 
COOPER,  CHAS.  &  CO.     Union  Negative  Cotton. 
CRAMER,  G.      Lightning  Plates. 
DEALERS'  DIRECTORY. 
DOUGLASS,  THOMPSON  &  CO.     Supplies  for  the 

Art-Science  of  Photography. 
FRENCH  &  CO.,  BENJ.    Voigtlander  &  Son  and 

Darlot  Lenses.     The  Wonderful  Euryscope. 
GENNERT,  G.     Albumen  Paper.     C.  Bb'hmke  & 

Co.'s  Improved  Aplanats. 
HANCE'S  SPECIALTIES. 
HODGE  &  HUSTON.     The  Solar  Printers. 
HYATT,  H.  A.     New  Brand  of  Dry  Plates. 
INGLIS,  JAMES.     "Insoluble"  Dry  Plates. 
KEEVIL'S   PATENT    NEWTONIAN    DUPLEX 

LANTERN. 
MAGEE  &  CO.,  JAS.  F.    Photographic  Chemicals. 


MOORE,  ALBERT.     Solar  Enlarger. 

MOSAICS,  1S85. 

OPTICAL  LANTERNS  AND  SLIDES. 

PASSAVANT'S  DRY  PLATES. 

PHOTOGRAPHIC  COLORISTS'  GUIDE. 

PHOTOGRAPHIC  PROGRESS  SINCE  1878. 

PHOTOGRAPHIC  PUBLICATIONS. 

PHOTOGRAPHISCHE  MITTHEILUNGEN. 

PICTORIAL  EFFECT  IN  PHOTOGRAPHY. 

ROBINSON'S  NEW  MODEL  PHOTO.  TRIMMER. 

SCOFIELD'S  UNIQUE  CAMERA. 

SCOVILL  MANUFACTURING  CO.  New  Dres- 
den Albumen  Three  Crown  Paper.  Negative 
Washing  Boxes.     Gihon's  Cut-Outs. 

THE  BLAIR  TOUROGRAPH  AND  DRY  PLATE 
CO. 

THE  HELIOTYPE  PRINTING  CO. 

WAYMOUTH'S  VIGNETTE  PAPERS. 

WILSON,  HOOD  &  CO.  Ross  and  Steinheil  Lenses, 
Photo.  Frames,  Goods,  Stereoscopes,  and  Views. 

WILSON'S  PHOTOGRAPHICS. 

WILSON'S  LANTERN  JOURNEYS. 

WILSON'S  VIEWS  OF  THE  ORIENT. 


119  South  Fourth  St. 
PHILADELPHIA- 

Branch  Office, 
605  Seventh  Street, 

WASHINGTON,  D.  G. 


h.  howson, 

Engineer  and  Solicitor  of  Patents. 

C.  HOWSOtf, 

Attorney  at  Law,  and  Counsel  in 
Patent  Cases. 


THE   PHILADELPHIA   PHOTOGRAPHER. 


113 


OPTICAL  LANTERNS 


AND 


LANTERN  SLIDES. 

Nearly  twenty  years'  experience  as  a  Dealer,  Manufacturer,  and  User  of  these   goods, 
enables  me  to  assure  satisfaction  to  every  purchaser. 

>i>=^ EVERYTHING   SUPPLIED.-!™^- 

LECTURE  BOOKS  ON 


a 

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M  b 

■"0    /H 

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21 


Send  for  New  Catalogue.    (15  Cents  in  Stamps.) 


A  superb  list  of  Slides  from  recent  personally  made 

Negatives  of  EGYPT,  ARABIA,  ARABIA  PETRJEA, 
SYRIA,  AND  PALESTINE. 

Jpm-  CATALOGUES  READY.     THE  MOST  UNIQUE  COLLECTION  EVER  OFFERED. 


READ  WILSONS  LANTERN  JOURNEYS. 

THREE  VOLS.    VOL.  Ill,  "THE  ORIENT,"  JUST  ISSUED. 

By  mail,  $2.00  each,  Post-paid. 

EDIT  AMD  L.   WILSON,  No.  1125  Chestnut  Street,  Philadelphia. 


114     THE  PHILADELPHIA  PHOTOGEAPHEE. 

-^CINCINNATI   NEW   STOCK   DEPOTS 


BLAIR  &  PRINCE, 

Importers  of  and  Dealers  in 

FIOTO.  APPARATUS  AND  MATERIALS, 

No.  148  West  Fourth  Street, 

CINCINNATI,  OHIO. 


Our  stock  is  fresh  from  the  best  factories,  bought  at  the  lowest 
cash  figures.  The  leading  brands  of  Plates,  Chemicals,  Albumen 
Papers,  and  everything  in  use  by  professional  and  amateur 
photographers  in  stock. 

OHIO  AGENTS  FOR 

BLAIR  APPARATUS  AND  MARSHALL  &  BLAIR'S  DRY  PLATES. 


WILLIAM  T.  GREGG, 

318  Broad^ray,  OX"-  Y.., 

MANUFACTURER  OF  THE 

PHOTO-OPTIOON. 

For  Oil  or  Gas,  Singly  or  in  pairs  for  Dissolving  Effects. 

The  most  brilliant  picture,  largest  screen,  and  most  compact  Lantern  in  the 
world.  The  best  instrument  at  a  fair  price.  My  lists  of  Views  are  the  largest 
in  the  United  States. 


Photographic  Cameras,  Lenses,  Shutters,  Dry  Plates,  Supplies,  etc. 


NEW  YORK  WAREHOUSE   OP   THE 

BLAIR  TOUROGRAPH  and  DRY-PLATE  CO.,  of  Boston. 

American  and  Foreign  Photographs  of  Places }  Persons,  Paintings, 
and  Sculpture,  mounted  and  unmounted. 


INSPECTION  AND  CORRESPONDENCE  SOLICITED. 


THE    PHILADELPHIA    PHOTOGRAPHER 


115 


KEEVIL'S   PATENT 

NEWTONIAN  DUPLEX  LANTERN. 

This  new  lantern  is  duplex  in  form,  being  fitted  with  one  optical  system,  projecting  in  front,  and 
another  projecting  from  one  side.  The  light  through  the  first  system  is  transmitted  on  to  the  screen 
directly,  in  the  usual  way.  At  the  extremity  of  the  other  system,  is  fixed  a  prismatic  lensf  by  which 
means  a  disk  can  be  projected  on  to  the  screen  central  with  the  other.  The  oxyhydrogen  jet  is  ar- 
ranged on  a  pivot,  which  is  a  fixture  in  the  bottom  of  the  lantern,  the  centre  of  rotation  being  as 
near  the  outside  surface  of  the  lime  cylinder  as  possible;  and  by  rotating  the  burner  through  about  a 
quarter  of  a  circle,  the  light  is  brought  central  with  each  condenser  alternately,  and  simultaneously 
the  mechanical  dissolver  opens  and  closes  the  objectives. 

A  Complete  Lime-Light  Dissolving  Apparatus,  most  Compact 

in  Form,  at  the  Low  Price  of  $100.00;  with  Full 

Oxyhydrogen  Accoutrements,  $130.00. 


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To  compensate  for  any  loss  of  light  occasioned  by  the  use  of  the  prism,  the  condenser  of  this  system 
is  made  somewhat  shorter  in  focus  than  the  other  one,  evenness  of  illumination  being  thereby  secured. 
Both  objectives  are  made  achromatic,  and  the  definition  of  the  one  to  which  the  prism  is  attached  is 
in  no  way  inferior  to  the  ordinary  one.  The  jets  never  require  adjustment,  as  every  lantern  is  put  to 
a  practical  test  before  being  sent  out;  the  best  position  for  the  jet  being  thereby  obtained,  further  ad- 
justment becomes  unnecessary,  The  dissolving  apparatus  is  adjustable  and  very  efficient.  The  conical 
fronts  are  easily  detached,  and  if  required  it  can  be  used  as  a  single  lantern.  The  ivhole  lantern  is  of 
metal.  Its  small  dimension  are  much  in  its  favor,  the  whole  packing  into  a  small  box,  easily  carried 
in  the  hand.  These  desiderata  are  certain  to  make  it  a  favorite  with  those  who  wish  for  an  apparatus 
of  extreme  portability.     See  further  in  our  new  catalogue.  t«> 

»We  have  arranged  for  the  sole  agency  of  the  United  States,  and  have  a  stock  on  hand  and  for  sale. 
Wa  have  thoroughly  tried  the  new  lantern,  and  are  charmed  with  it  in  every  way.  It  is  lighted  in  a 
•ninute,  easily  adjusted,  and  gives  entire  satisfaction. 

SEVERAL  RECENT  IMPROVEMENTS. 
SECURED  BY  LETTERS-PATENT  IN  ENGLAND  AND  THE  UNITED  STATES. 

It  is  made  to  sit  on  any  table  or  stand,  and  full  directions  for  working  accompany  it.  Send  for  estimate  for  a  full 
outfit,  bags,  tubing,  generator,  &*c.  &°c.     Lists  of  our  new  dissolving  views  will  be  given  on  application. 


EDWARD   L.  WILSON, 


Sole  Agent  foi  the  United  States. 


1125  Chestnut  St.,  Philadelphia. 


116 


THE   PHILADELPHIA  PHOTOG  RAPHER. 


WILSON'S  LANTERN  JOURNEYS 

These  descriptions  should  be  in  the  hands  of  every  Lantern  Exhibitor  and  Lecturer.  They 
help  you  choose  slides.  They  tell  you  what  facts  and  figures  the  public  want  to  know  about  the 
places  and  things  you  exhibit.  The  contents  are  divided  into  JOURNEYS  or  selections  as  per 
1  ist  below : 


DESCRIBES 

SLIDES 

ALL  OVER 

THE  WORLD. 


3  VOLUMES. 


VOLUME  I.  306  PAGES, 

Contains  NINE  Journeys: 

A — France  and  Switzerland. 

B — Belgium,      Germany,     Austria, 

Saxony,  and  Bavaria. 
O — Italy — Lakes,     Cities,     and    the 

Italian  Art  Galleries. 
D — Holland,      Denmark,      Norway, 

Sweden,  Russia,  and  Spain. 
E — Egypt,  Palestine,  Syria,  Turkey, 

Greece,  and  India. 
F — England,  Scotland,  and  United 

States  of  America. 
G — Centennial  Exhibition,  Philada. 
H — Centennial  Exhibition,  Philada. 
I— The  Paris  Exposition,  1878. 

IN  ALL,  OVER  900  SUBJECTS. 

PRICE  $2,  POST-PAID. 


DESCRIBES 

SLIDES 

ALL  OVER 

THE  WORLD 


3  VOLUMES. 


VOLUME  E.  331  PAGES, 

Contains  TWELVE  Journeys: 

J — Germany  and  Russia. 

K — Belgium  and  Austria. 

L — France — Cities  and  Provinces. 

M— Spain  and  Portugal. 

N — Switzerland— The    Four  Alpine 

Routes. 
O — Italy,  Ischia,  and  Sicily. 
P — Turkey,  Greece,  and  Egypt. 
Q— Palestine  and  India. 
R — Scotland — Cities  and  Ruins. 
S— Ireland. 
T — England — Cities,  Museums,  and 

Ruins. 
TJ — United  States  of  America. 

IN  ALL,   1073  SUBJECTS. 

PRICE  $2,  POST-PAID. 


m~ VOLUME  III— ON  THE  ORIENT— NOW   READY.=®a 
PRICE  $2,  POST-PAID. 

Gives  descriptions  of  ali  tile  slides  made  l>y  Mr.  Edward  Li.  Wilson  of  Ills  personally 

taken  views  of  The  Sinai  Peninsula ;   The  Desert  of  the  Exodus ;   The 

Route  of  the  Israelites  to  the  Promised  Land ;  and 

THE  TAKING  OF  PBTRA. 

NEW    LECTURES    IN    PRESS. 


5ale      EDWARD  L.  WILSON,  Photo.  Publisher,  Philadelphia,  Pa. 


by  All  Dealers. 


SEND  FIFTEEN  CENTS  FOR  NEW  CATALOGUE. 


THE    PHILADELPHIA    PHOTOGKAPHEE. 


117 


ALL  ONE  PRICE ! 


EASTMAN'S 

RAPID,  INSTANTANEOUS, 

TROPICAL,  and  SPECIAL 

Gelatmo-Bromide  Dry  Plates 

Have  all  been  REDUCED  to  one  Uniform  Price, 


AS  FOLLOWS: 


Size,  3X  *  4X, 
"4      x  5, 
"     4X  x  5%, 
"     4Xx6^, 
"5     x7, 
"5      x  8, 
"     6^x8^, 
"     8      x  lO, 


Per  doz.,  $0  60 

90 

1  00 

1  20 

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1  75 

"  2  30 

"  3  40 


Size,  10  x  12, 

"  11x14, 

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"  16  x  20, 

"  17  x  20, 

"  18  x  22, 

"  20  x  24, 


Per  doz.,  $5  00 

"  6  50 

lO  00 

16  00 

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"  20  00 

24  00 


Discount  as  folloivs :  Orders  amounting  to  $50,  5  per  cent.;  over  $50, 
and  under  $100,  10  per  cent.;  over  $100,  and  under  $200,  15  per  cent. 


BEAR  IN  MIND  THAT 


THE  TROPICALS 


f  Are  the  ONLY  ONES  that  can  be 
^used  in  HOT  WEATHER  without 
(ICE  or  ALUM. 


ALSO,  THAT 


THE  SPECIALS 


Are  the  MOST  SENSITIVE,  MOST 
UNIFORM,  and  CLEANEST  DRY- 
PLATES  ever  made. 


A  Distinguished  Painter  who  has  taken  up  Amateur  Photography  says 
the  "Specials"  are  quicker  than  chain  lightning. 


-FOR  SALE  BY  ALL  DEALERS- 


SOLE  WHOLESALE  AGENT, 

E.  &  H.  T.  ANTHONY  &  CO., 

501  BROADWAY,  NEW  YORK. 


118  THE   PHILADELPHIA   PHOTOGEAPHEE. 


The  Following  is  of  Interest  to  Every  Photographer. 


THE  NEW  N.  P.  A. 


PENSE. 


We  desire  to  call  attention  to  our  NEW  PENSE  N.  P.  A.  Extra  Brilliant 
Dresden  Albumen  Paper. 

The  manufacturers  at  Rives  have  recently  many  marked  improvement  in  their 
celebrated  paper,  and  all  the  sheets  of  this  brand  are  manufactured  specially  for 
it,  and  are  readily  distinguished  from  all  other  papers  by  the  water-mark  N.  P.  A. 

It  is  doubly  albumenized  by  the  most  experienced  house  in  Germany,  with 
new  and  improved  formulas,  and  we  are  confident  that  on  trial  it  will  be  found 
superior  to  any  other  in  market. 

Its  excellence  has  induced  some  unscrupulous  persons  to  place  the 
STAMP  on  the  Paper  of  other  makers,  in  order  to  work  it  off,  trusting  that 
photographers  will  not  look  through  to  see  if  the  water-mark  is  there.  To 
prevent  this  we  have  registered  Jte§a,This  Trade  Mark~1i3g  in  Washington,  which  will 
subject  to  heavy  damages  all  ^<<^^  ^A/^  those  who  stamp  this  brand 
on  paper  which  does  not  bear  ^  N.P.A.  ^  the  water-mark  N.  P.  A 
This  Paper  can  be  had  also  in        DRESDEN.        PINK,  PEARL  or  WHITE. 

FOR  SALE  BY  ALL  DEALERS  IN  PHOTO.  GOODS  IN  U.  S.  AND  CANADA. 


E.  &  H.  T.  ANTHONY  &  CO., 

591  Broadway,  NEW  YORK. 

N.  B. — When  any  paper  is  offered  to  you  at  a  low  price,  Measure  it. 

Also  note  whether  it  runs  Uniform,  for  some  albumenizers  mix  the  first  and 
second  qualities,  not  discarding  that  which  has  defects,  and  thus  get  their  paper 
cheaper. 


-THE- 


HELIOTYPE  PRINTING  COMPANY 

Desire  to  draw  the  attention  of  Photographers  and  Printers  to  their  unequalled 
facilities  for  the  production  of  all  classes  of  photo-mechanical  printing  or  print- 
ing plates.  They  have  recently  introduced  improvements  by  which  they  are 
able  to  produce  better  work  at  lower  prices,  WITH  A  LIBERAL  DISCOUNT  TO 
PHOTOGRAPHERS  AND  PRINTERS.  They  especially  draw  attention  to  their  new 
pJXtfltf^C&ttStlC  methods  by  which  the  photographic  effect  is  produced 
either  on  lithographic  stones  or  in  the  shape  of  cuts  to  print  with  type. 

Samples  and   prices  of  any  desired  class  of  work  forwarded  on  application. 

Specimen  books  on  receipt  of  25  cents. 


Our  processes  are  divided   into 

^Ixoto+^ztUftuittil  "gxxutiuQ.    (PURE   HELIOTYPE    and 

AUTOGLYPH.)  —  For    the    reproduction,     in    printer's   ink,  on    the  printing  press, 
of  Portraits  and  Views  from   Nature,   and  all  descriptions  of    PHOTOGRAPHIC  work. 

^\XtttO*%%tUttQX&pUXl.—  For  the  reproduction  of  Artists',  Architects', 
Engineers',  Surveyors',  and   other  Drawings,  and  other  originals  in   black  and  white. 

gfoXrttf  gttgVamtlg  and  MUt  %tt\XXU&.—  For  the  production 
of  Cuts  to  print  with  type,   from  originals  in   black  and  white. 

^XX0tO*(&mXStXt  ^XXUXXUQ.—  For  the  lithographic  reproduction  of 
photographic  subjects,  without  redrawing, 

gtot0-©aWStt.C  gttjjmtrmg.—  For  the  production  of  Cuts  to 
print  with  type,  from  photographs,  brush  drawings,  and  all  subjects  in  half  tone 
or  shading,  without  redrawing  in   line. 

®Kvom0*%mxoQxvcpKxs.  jot  a" classes 

IpXV&Ci  ^XiXXX&t&X* — A  patented  process  for  the  speedy  reproduction 
(from  originals  made  with  ordinary  ink  on  ordinary  paper)  of  autograph  letters, 
sketches,  caricatures,  etc.,   either  as  cuts  or  lithographs. 

§£S%0tXitX|J. — Artistic  designing  of  all  kinds. 


Employed  by  the  United  States  Government  in  illustrating  Scientific  and  Medical  Reports; 
by  Scientific,  Historical  and  other  learned  Societies;  by  the  leading  publishers,  and  for  illustrat- 
ing Town  and   Family  Histories,  Trade  Catalogues,  Show  Cards,  etc. 

Fac-similes  of  Medals  and  Coins,  Ancient  Manuscripts,  Paintings,  Drawings,  Sketches  and 
Autograph  Circulars,  Views  and  Portraits  from  Nature,  Medical  and  Scientific  Objects,  Antiquities, 
etc.,  etc. 

Special  attention  paid  to  the  reproduction  of  Architects',  Engineers'  and  Surveyors' 
Drawings. 


Our  establishment  is  fitted  to  produce  photo-mechanical  and  lithographic 
work,  of  all  kinds,  by  the  best  available  methods,  and  we  shall  be  pleased 
at  all  times  to  advise  on  any  work  that  may  be  required. 


THE   HELIOTYPE   PRINTING  CO., 

211  TREMONT  STREET,  BOSTON,  MASS. 

NEW  YORK  OFFICE,       .      .      .       658  BROADWAY. 
WASHINGTON  OFFICE,       .      .       28  CORCORAN  BUILDING. 


WHAT  IS  SAID  BY  ITS  READERS:      I 


We  cannot  recommend  it  too  highly  to  our  colleagues. 
— Mons.  Leon  Vidal,  Editor  of  the  Paris  Moniteur. 

The  success  of  this  latest  gem  of  photographic  litera- 
ture will,  no  doubt,  be  as  great  as  the  merit  of  the  work 
deserves.  Among  the  photographic  writers  of  America 
E.  L.  Wilson  stands  without  a  compeer. — Dr.  H.  Vogel, 
Editor  of  the  Photo.  Mitth. 

By  far  the  best  photographic  book  ever  published  in 
America.  It  is  written  with  great  elegance  and  mas- 
terly handling  of  the  subject. — Dr.  E.  Horning,  Editor 
of  Photographic  Correspondez,  Vienna. 

Would  not  be  without  one  for  triple  the  price. — 
Emmerson  Goddard,  Woonsocket,  R.  I. 

It  is  a  perfect  encyclopaedia  of  the  photographic  art 
up  to  date. — H.  L.  Bliss,  Buffalo,  N.  Y. 

Photographies  is  the  most  imposing  book  devoted  to 
photography  I  have  seen. — J.  F.  Ryder,  Cleveland. 

Photographies  looks  fine,  and  is  selling  well.  We  are 
doing  our  best  to  push  it. — W.  Irving  Adams,  N.  Y. 

The  plan  of  the  book  is  novel.  .  .  .  Mr.  Wilson  could 
hardly  fail  by  this  plan  in  making  a  useful  and  prac- 
tical publication. — Anthony's  Bulletin,  N.  Y. 

It  is  the  very  best  text-book  upon  our  beloved  art. — 
John  R.  Clemons,  Phila. 

I  have  inquiries  for  a  good  book  on  photography,  and 
I  think  yours  is  that  book. — John  Carbutt,  Phila. 

It  is  a  pity  you  can't  send  to  every  one  the  pages 
from  1  to  17 ;  all  would  be  sure  to  go  for  the  rest  of  it. 
— J.  H.  Hallenbeck,  New  York. 

It  is  a  complete  library. — W.  D.  Gatchel,  Cinn. 

We  know  of  no  one  in  our  fraternity  more  capable  of 
compiling  such  a  work  for  the  benefit  of  the  photo- 
graphic brotherhood  than  Mr.  Wilson. — J.  H.  Fitz- 
Gibbon,  in  St.  Louis  Practical  Photographer. 

It  demands  a  position  in  the  library  of  every  photog- 
rapher, and  this  position  it  will  assuredly  attain  as 
soon  as  its  merits  become  known. — Editor  Photographic 
Times  and  American  Photographer. 

Photographies  is  my  evening  companion,  and  with  it 
the  evenings  are  very  short.  It  is  just  what  I  have 
been  wanting  for  a  long  time. — Well  G.  Singhi,  Bing- 
hampton,  N.  Y. 

It  is  a  good  work,  and  I  look  to  see  you  issue  a 
second  edition  as  soon  as  it  has  had  time  to  commend 
itself. — D.  Bachrach,  Jr.,  Bait.,  Md. 

I  consider  it  greatly  superior  to  anything  yet  pub- 
lished.— J.  B.  Leisenring,  Eort  Dodge,  Iowa. 

It  is  a  most  useful  book,  and  its  practical  teachings 
to  the  studious  photographer  contain  the  most  valuable 
information. — C.  D.  Mosher,  Chicago. 

Photographies  hits  the  nail  right  on  the  head.  I 
•would  rather  have  it  than  all  the  other  books  on  pho- 
tography put  together.  The  idea  is  capital,  as  it  is 
original,  and  gives  us  the  whole  thing  in  a  nutsheU. — 
B.  W.  KiLBCit.v,  Littleton,  N.  H. 


I  hope  that  every  photographer  will  see  to  it  that  his 
$4  goes  direct  to  you,  without  any  dealer's  commission 
off,  in  order  that  you  may  have  the  full  benefit  of  its 
price — a  benefit  indeed  for  the  many  years  you  have 
played  your  part  so  carefully  upon  the  photographic 
stage  for  us. — Fred.  C.  Phillips,  St.  Thomas. 

It  is  the  most  unique  aud  powerful  work  upon  the 
subject  I  have  ever  seen. — J.  E.  Beebe,  Chicago. 

The  book  of  photography.  It  is  worth  the  price  with 
compound  interest. — P.  Kellmer,  Hazleton,  Pa. 

I  have  read  Photogi  aphics  through,  and  am  fully 
satisfied  it  is  without  a  peer  in  photographic  literature. 
To  me  it  is  invaluable. — E.  P.  Hovey,  Rome,  N.  Y. 

My  friend  and  tutor,  allow  me  to  thank  you  for  your 
noble  book,  and  may  thous-ands  testify  to  its  value  by 
giving  it  the  chiefest  place  in  their  library. — P.  M. 
Spencer,  Mansfield,  Pa. 

I  can  assure  you  sincerely  that  I  never  invested  $4.00 
for  reading  with  as  much  satisfaction  as  in  this  case.— 
C.  T.  Stuart,  Hartford,  Conn. 

A  short  tim3  since  I  had  the  pleasure  of  perusing 
your  new  book  Photographies.  As  a  result  I  want  it, 
and  enclose  check  for  four  dollars. — Geo.  Pine,  Trenton, 
New  Jersey. 

Of  all  the  photographic  literature  published,  this 
book  seems  the  very  best. — J.  P.  Spooner,  Stockton, 
Cal. 

I  am  very  much  delighted  with  it.  The  treatises  on 
dry-plates,  emulsions,  etc.  etc.,  are  all  very  minute  in 
detail. — J.  A.  Van  Drelzen,  Peoria,  111. 

I  think  the  Photographies  a  very  valuable  book,  one 
that  every  photographer  should  have. — K.  T.  Sheldon, 
West  Winsted,  Conn. 

It  is  the  best  book  I  ever  got  possession  of.  Those 
who  want  lightning  or  instantaneous  processes  had 
better  get  a  copy  and  work  with  pleasure.  Nothing 
like  it;  too  good  to  be  without. — Joseph  Theiring, 
Cincinnati,  Ohio. 

The  first  short  article  that  I  read  was  worth  the  cost  t 
of  the  book,  and  in  looking  it  over  find  it  contains  an 
inestimable  amount  of  valuable  information  which 
would  not  be  found  out  in  a  lifetime  of  practice. — E. 
F.  Burchand,  Worthington,  Minn. 

Your  Photographies  will  supply  a  want  long  felt 
among  the  fraternity,  more  especially  among  those  like 
ourselves  who  are  "out  of  the  world,"  so  to  speak.— 
J.  R.  Hanna,  Auckland,  Australia. 

One  hundred  dollars  would  not  buy  mine  if  I  could 
not  get  another.  I  do  not  see  how  I  managed  so  long 
without  it. — Oscar  Cromwell,  Grizzly  Flat,  Col. 

Photographies  suits  me  better  than  any  similar  work 
I  have  come  across.  The  giving  of  the  experience  of 
different  workers  on  the  same  subject,  and  giving  it  in 
their  own  words,  being  an  especially  valuable  feature. 
— S.  B.  Hill,  Flemington,  N.  J. 

Your  Photographies  is  the  best  thing  out;  practical 
and  to  the  point,  and  no  nonsense. — Walt.  C.  North, 
Utica,  N.  Y. 


SALE  DON'T  STOP. 

"Will  be  mailed,  post-paid,  to  any  address,  on  receipt  of  $4.00. 

EDWARD  L.  WILSON,    Author  and  Publisher,  1125  Chestnut  Street,  Philadelphia 


THE    PHILADELPHIA    PHOTOGRAPHER  121 

Benj.  F^nch  &  Qo. 

No.  319  WASHINGTON  STREET,  BOSTON, 

Sole  Agents  in  the  United  States  for  the  Celebrated  Lenses 
Manufactured  by 

voigtlAnder  &  SON. 


ALSO,  THEIR  FAMOUS 


Which  is  unrivalled   for  groups,  full-length   figures,  and  other  demands  in  the 
gallery,  and  every  species  of  out-door  work,  including  instantaneous  photography. 

jssgT  THE  EURYSCOPE  is  made  exclusively  by  Voigtlander  &  Son,  and  their 
name  is  engraved  on  the  tube. 


PORTRAITS.    HARLOT     LENSES    VIEWS. 


IMPORTERS,  ALSO,  OF  THE  CELEBRATED 

TRAPP  &  MUNCH 

ALBUMEN    PAPER, 


AND  DEALERS  IN  ALL  KINDS  OF 


Photographic  Materials  and  Magic  Lantern  Slides. 


SEHS  FOR  ODE  NEW  ILLUSTRATED  PRICE  LIST  OF  LENSES. 


1*2 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


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THE    PHILADELPHIA    PHOTOGEAPHEK.  ?  123 

A  GLOW  of  PHOTOGRAPHIC  PUBLICATIONS 


The  amateur  and  his  old  friend,  the  daily  worker,  are  well  taken  care  of  in  the 
literature  line,  and  we  ask  their  attention  to  the  following  list,  which  includes 
about  everything  there  is  need  for.  There  is,  in  fact,  a  treatise  on  every  branch 
of  photography. 

The  Philadelphia  Photographer.  A  monthly  magazine,  illustrated  by  photographs  of 
superior  merit.  #5  a  year;  $2.50  for  six  months. — Stands  ahead  of  all  its  kindred.  Eighteen 
years  of  success  is  a  sufficient  guarantee  of  its  value  and  use  to  the  practical,  working,  growing 
photographer.     Do  not  go  without  its  valuable  help. 

The  Perrotyper's  G-uide.  Price,  75  cents. — Cheap  and  complete.  For  the  ferrotyper 
this  is  the  only  standard  work.     Seventh  thousand. 

Pictorial  Effect  in  Photography.  By  H.  P.  Robinson.  Cloth,  $1.50;  paper  cover, 
$l. — For  the  art  photographer. 

Wilson's  Photographies.  The  newest  and  most  complete  photographic  lesson-book. 
Covers  every  department.     352  pages.     Finely  illustrated.     Only  $4.     By  Edward  L.  Wilson. 

"Wilson's  Lantern  Journeys.  By  Edward  L.  Wilson.  In  three  volumes.  Price,  $2  per 
volume. — For  the  lantern  exhibitor.  Gives  incidents  and  facts  in  entertaining  style  of  about  2,000 
places  and  things,  including  200  of  the  Centennial  Exhibition. 

Bigelow's  Artistic  Photography.  Price  reduced  to  $4. — For  the  lover  of  art.  Beats 
his  "Album  of  Lighting  and  Posing."     Superb  !     With  twelve  photographs  and  instructions. 

Studies  in  Artistic  Printing.  By  C.  W.  Hearn.  Price,  $3.50. — Embellished  with  six 
fine  cabinet  and  promenade  portrait  studies. 

The  Photographic  Oolorists'  G-uide.  By  John  L.  Gihon.  Cloth,  $1.50. — The  newest 
and  best  work  on  painting  photographs. 

Photographic  Mosaics,  1884.  A  year-book.  Cloth  bound,  $1 ;  paper  cover  50  cents. 
Better  than  any  of  its  predecessors. — Back  volumes,  same  price. 

The  Photographic  Amateur.  By  J.  Traill  Taylor.  A  guide  to  the  young  photogra- 
pher, either  professional  or  amateur.     Price,  50  cents. 

The  Art  and  Practice  of  Silver-Printing.  By  H.  P.  Robinson  and  Capt.  Abney, 
R.E.,  F.R.S.     Price,  50  cents.     Illuminated  cover.     Cloth  bound,  75  cents. 

How  to  Make  Pictures.  (Second  edition  of  5,000  copies.)  The  ABC  of  Dry-plate  pho- 
tography.    By  Henry  Clay  Price.     Price,  illuminated  cover,  50  cents ;  cloth,  75  cents. 

Photography  with  Emulsion.  By  Capt.  W.  De  W.  Abney,  R.E.,  F.R.S.  Price,  #1 
per  copy. 

Twelve  Elementary  Lessons  in  Dry-plate  Photography.  Price,  25  cents  per 
copy. 

The  Modern  Practice  of  Retouching.     Price,  50  cents  per  copy. 

The  Spanish  edition  of  How  to  Make  Pictures.  Ligeras  Lecciones  sobre  Fotografia 
Dedicados  a  Los  Aficionados.     Price,  $1  per  copy. 

The  Progress  of  Photography  Since  1 879.  By  Dr.  H.  W.  Vogel.  A  splendid  helper 
to  all  workers.     Price,  $3. 

Picture  Making.     By  H.  P.  Robinson.     Cloth,  $1.     Paper,  50  cents. 

All  orders  for  above  will  be  filled,  free  by  post,  on  receipt  of  price  at  the 
office  of  this  magazine. 

EDWARD  L.  WILSON,  Photo.  Publisher,  1125  Chestnut  St.,  Phila. 


124  THE    PHILADELPHIA    PHOTOGRAPHER. 


JAMES   INGLIS 


MANUFACTURER  OF  THE 


Inglis  Dry  Plates, 

ROCHESTER,  N.  T. 


INGLIS'  NEW  DRY  PLATE. 

E.  L.  Wilson  says  they  are  too  quick  for  him  in  New  Orleans, 
but  adds,  the  quality  is  all  right.     Send  us  slower  ones. 

Negatives  made  in  one  or  ten  seconds,  both  equally  good. 
We  saw  this  done,  and  so  exactly  alike  were  the  two  negatives 
they  could  not  be  told  apart.  Both  taken  on  one  plate  then  cut 
in  two.  Fred.  Robinson,  Trumansburg. 

Hale,  Seneca  Falls. 

For  Transparencies  they  are  not  excelled.  How  to  develop 
for  positives.  For  quick  or  slow  exposures.  For  hard  or  soft 
negatives,  find  in  our  directions,  which  will  enable  the  youngest 
amateur  to  work  successfully.     Will  send  them  by  mail  on  request. 


THERE  IS  NO  FEAR  OF  FRILLING. 


SCOYILL  MANUFACTURING  CO,  AGENTS. 

And  For  Sale  hy  most  of  the  Dealers. 


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Manufactured  only  by 

Alfred  L.  Hance, 

PHIL  A  DELPHIA. 


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Scovill  Manufacturing  Company,  Trade 
FOR  SALE  BY  ALL  DEALERS, 


Agents. 


126  THE    PHILADELPHIA    PHOTOGRAPHER. 

(2 THE 9 


PROGRESS  OF  PHOTOGRAPHY 

FROM     1879    tO     1884. 
By  DR.  H.  W  VOGEL, 

Professor  and  Teacher  of  Photography  and  Spectrum  Analysis  at  the  Imperial 

Technical  High  School. 


now  rt  :es  Ji.  ID  "ST. 

A  Review  of  the   more   Important   Discoveries   in 

Photography  and  Photographic  Chemistry 

within  the  Last  Pour  Years. 

READ    WHAT    HE    SAYS    ON 

EMULSION   PHOTOGRAPHY, 

AND 

THE  CHAPTER  ON  PHOTOGRAPHY  FOR  AMATEURS. 

INTENDED  ALSO  AS  A  SUPPLEMENT  TO  THE  THIRD  EDITION 
OF  THE  HANDBOOK  OF  PHOTOGRAPHY. 

Revised  by  EDWARD  L.  WILSON,  Editor  Philadelphia  Photographer. 
Translated  from  the  German  by  ELLERSLIE  WALLACE,  Jr.,  M.D. 


$3.00.  347    PAGES.  $3.00. 

With  Seventy-two  Illustrations,  and  an  admirable  portrait  taken  with 
Electric  Light,  by  W.  Kurtz,  New  York. 

(SEE  OPPOSITE  PAGE.) 


THE  PHILADELPHIA  PHOTOGRAPHER. 


127 


VOGEL'S 


Progress  in  Photography. 


CONTENTS: 


CHAPTER  I. 
PHYSICAL  EFFECTS  OF  LIGHT. 

CHAPTER  II. 
CHEMICAL  EFFECTS  OF  LIGHT. 

A.  Effects  of  Light  upon  Metalloids  and  their 

Compounds. 

B.  Effects    of  Light  upon   Metals  and   their 

Compounds. 
The  Double  Salts  of  Iron  and  Oxalic  Acid. 
The  Iron  Lichtpaus  Process. 
Actinium,  a  new  Metal. 
Salts  of  Copper. 
Salts  of  Chromic  Acid. 
Combinations  of  Mercury. 
Platinum  Printing. 
The  Salts  of  Silver. 

The  Various  Modifications  of  Bromide  of 
Silver  and  the  Chemical  Principles  of  the 
Emulsion  Process. 
Photo-chemistry  of  Chloride  of  Silver. 
Rare  Salts  of  Silver. 

CHAPTER  III. 
PHOTOGRAPHIC  CHEMISTRY. 

Different  Forms  of  Pyroxyline, 
Concerning  the  Characteristics  of  Gelatine. 

CHAPTER  IV. 
PHOTOGRAPHIC  OPTICS. 

New  Objectives. 

Artificial  Light  and  its  Application  to  Pho- 
tography. 
Chemical  Photometers. 

CHAPTER  V. 
PHOTOGRAPHIC  APPARATUS. 

Cameras,  Changing-boxes,  and  Tripods. 
Instantaneous  Shutters. 


CHAPTER  VI. 

THE  NEW  PHOTOGRAPHIC 
PROCESSES. 

A.  New  Negative  Processes  (Dry  Processes). 
Pi  epn  ration  of  Gelatine  Emulsion. 

a.  The  Author's  Method. 

b.  Eder's  Method  with  Ammonio-nitrate 

of  Silver. 

c.  Eder's  Combination  Method  with  the 

Author's  Modification. 

d.  Eder's  New  Method  with  Carbonate 

of  Ammonia. 

e.  Precipitation  Methods. 

f.  Vogel's  Emulsion. 

B.  The  Manipulation  of  the  Gelatine  Plates. 
i.  Gelatine  Plates. 

a.  The  Exposure. 

b.  The  Development. 

c.  The  Fixing. 

d.  The  Intensifying. 

e.  The  Drying  and  Finishing. 

2.  Vogel's  Emulsion  Plates. 

3.  Failures  in  Gelatine  Plates. 

4.  Notes  on  the  Gelatine  Process. 

C.  New  Positive  Processes. 

1.  The  Platinum  Processes  (Platinotype). 

2.  New  Silver  Printing  Processes. 

3.  New  Enlargement  Processes  and  Appa- 

ratus. 

4.  New  Permanent  Printing  Processes. 

CHAPTER  VII. 

PHOTOGRAPHIC  ESTHETICS  AND 
PORTRAIT  TECHNIQUE. 

CHAPTER  VIII. 
PHOTOGRAPHY  FOR  AMATEURS. 


$3.00 PRICE $3.00 


MAILED  ON  BECEIP1   OF  PRICE,  BY 

EDWARD  L.  WILSON,  1125  Chestnut  St.,  Philadelphia. 


128  THE    PHILADELPHIA    PHOTOGRAPHER. 


DEALERS'  DIRECTORY. 


The  following  hottses  are  to  be  recommended  as 
the  best  for  photographers  in  their  localities. 


S.  T.  BLESSING, 

New  Orleans, 

La. 


THE 


BEST  BOOK 


IS 


SMITH  &  PATTISON, 

8s  &  85  Wabash  Ave. 
Chicago. 


H.  A.  HYATT, 

Mound  City  Photo.  Stock  House, 

8th  and  Locust  Sts., 

St.  Louis,  Mo. 


WILSON'S 

PHOTOGRAPHICS, 

$4.00. 


D.  J.  RYAN, 

Savannah, 

Ga. 


SCOVILL  MANF'G  CO, 

423  Broome  St., 
New  York. 


C.H.CODMAN&CO. 

Boston,  Mass. 


BDCHAM,  SMEDLEY 

&  BROMLEY, 

25  N.  Seventh  St., 

Philadelphia. 


OSCAR  FOSS, 

San  Francisco, 
Cal. 


+ 


D.  TUCKER  &  CO., 


Buffalo, 


N.  Y. 


BLESSING  &  BRO.f 

Galveston, 

Texas. 


WILSON,  HOOD  &  CO, 

825  Arch  Street, 
Philadelphia,  Pa. 


B.  FRENCH  &  CO. 

Boston,  Mass. 


EDWARD  L.  WILSON, 

Photo.   Publisher, 

LANTERN  SLIDES, 

1 125  Chestnut  St., 

Philadelphia. 


MDLLETT  BROS. 

Kansas  City, 
Mo. 


E.&H.T.AHTHOM&CO. 

591  Broadway, 

New  York. 


SHEEN  &  SIMPKINSON, 


Cincinnati, 

Ohio. 


GRAND   RAPIDS,    MICH. 


OVER    THE    SEA. 


THE 


EDITED    BY    E  D  W  A  R  D    L.    WILSON, 


Vol.  XXII. 


MAY,   1885. 


No.  257. 


PHOTOGRAPHY  AT  THE  NEW 
ORLEANS  EXPOSITION. 

We  are  able  now  to  give  our  readers  about 
as  complete  a  list  as  it  will  be  possible  to 
give  tbem  of  tbe  photographic  exhibit  at  the 
World's  Cotton  Centennial  and  Industrial 
Exposition  at  New  Orleans,  and,  in  order 
that  it  may  be  complete  in  one  letter,  we 
shall  repeat  somewhat  that  has  already 
been  written,  that  our  readers  may  have  a 
general  impression  of  how  the  whole  thing 
looks.  We  will  begin  at  the  amateur  ex- 
hibit. This  is  quite  creditable,  and  is  due 
almost  wholly  to  the  energy  and  persistence 
of  Mr.  P.  C.  Beach,  the  earnest  President  of 
the  New  York  Amateur  Society.  All  sorts 
of  happenings  have  conspired  to  keep  back 
and  to  break  up  this  section  of  the  exhibition, 
but  after  all  a  very  presentable  showing  is 
here. 

The  exhibit  being  made  collectively,  as 
this  is,  offers  difficulties.  We  should  like 
very  much  to  be  able  to  mention  the  names 
of  all  those  who  have  distinguished  them- 
selves in  givmg  this  evidence  of  their  patri- 
otism, but  that  is  impossible;  we  can  only 
mention  a  few  of  the  Societies  that  are  rep- 
resented, as  follows:  The  Photographic 
Amateur  Club  of  Philadelphia,  the  Society 
of  Amateur  Photographers  of  New  York, 
The  Cleveland  Amateur  Society,  the  Ama- 
teur Society  of  Lowell,  Mass.,  the  Chicago 
Photographic  Amateur  Society,  and  the 
Rochester  Photographic  Society. 


The  exhibit  of  the  New  York  Society 
comes  first.  The  principal  collection  is  by 
Mr.  Thomas  Pray,  Jr.,  who  contributes  four 
frames  of  varied  subjects,  of  excellent 
quality,  including  some  that  illustrate  his 
recent  southern  trips.  We  regret  that  Mr. 
Pray  did  not  exhibit  some  of  his  micro- 
photographs  of  cotton  fibres,  which  we  con- 
sider a  r^ach  in  a  direction  very  little 
travelled,  and  in  which  Mr.  Pray's  work  is 
far  ahead  of  anything  else  of  the  kind.  The 
most  life-like  picture  of  his  group  is  that  of 
a  serpent  coiled  up  and  ready  to  spring  upon 
any  who  comes  too  close.  Mr.  Pray  deserves 
praise  (no  fun)  for  his  generosity  in  making 
such  an  extended  exhibit,  as  compared  with 
some  others. 

Some  of  the  best  views  of  the  New  York 
Society  are  by  Mr.  K.  A.  C.  Smith.  The 
most  of  these  are  American  landscapes,  but 
some  of  them,  we  believe,  are  from  scenes  in 
the  Island  of  Cuba.  There  is  a  lovely 
quality  about  them,  and  the  whole  collection 
gives  evidence  of  painstaking  and  care.- 

Our  old  dry-plate  friend,  Mr.  George  H. 
Johnston,  Bridgeport,  Conn.,  under  the  pro- 
tecting care  of  the  same  Society  (of  which 
he  is  a  member),  gives  his  heart  away  in  his 
splendid  illustrations  of  hunting-life  in  the 
hills  and  vales  of  the  Adirondacks ;  every 
phase  of  camp-life  is  here  illustrated,  from 
the  first  break  into  the  jungle  for  a  home,  to 
the  comfortable  scene,  where,  hunting  ended, 
again  secure  in  camp,  preparation  for  the 


130 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


evening  repast  is  going  on.  All  bring  back 
to  memory  contented  and  healthful  days  in 
the  wild  wood. 

We  expected  to  see  the  work  of  a  good 
many  more  prominent  members  of  this 
Society  than  is  here  shown,  from  men  who 
;are  made  conspicuous  by  the  absence  of  their 
good  works. 

The  Kochester  Photographic  Society  is 
represented  by  some  splendid  examples  of 
•outdoor  work  from  negatives  made  by  Mr. 
Peter  Mawdsley  and  Mr  John  E.  Dumont. 
Prom  Mr.  Mawdsley  we  expected  the  very 
•best,  and  he  has  not  disappointed  us.  Mr. 
Dumont  is  a  very  careful  worker,  apparently 
'filled  with  artistic  sense,  and  expresses  his 
individuality  in  his  work.  There  is  a  pecu- 
liar quality  in  the  results  of  both  these  gen- 
tlemen, due,  no  doubt,  to  the  plates  they 
use,  after  the  artistic  elements  are  considered. 
The  Lowell  Amateur  Photographers  have 
.also  done  well.  Their  collection  includes  a 
:great  variety  of  home  and  outdoor  scenes, 
bright  and  beautiful  in  quality,  showing  a 
good  deal  of  skill  and  taste. 

The  last  remarks  may  be  applied  to  the 
contributions  of  the  Chicago  Amateur  Club, 
included  in  three  frames,  very  tastefully 
arranged.  Of  course,  the  best  views  of  this 
direction  would  be  scenes  along  the  myste- 
rious windings  of  the  river  which  chops 
Chicago  into  bits.  Some  instantaneous 
views  of  this  are  exceedingly  well  chosen, 
and  of  excellent  quality  technically.  One 
picture,  which  causes  a  good  deal  of  remark, 
is  that  of  a  man  taken  in  the  attitude  which 
he  presents  when  seen  upon  the  ground- 
glass,  viz.,  standing  upon  his  head.  It  is 
well  done. 

The  Philadelphia  Amateur  Club  has  also 
done*  well,  for  a  number  of  its  members  are 
represented.  The  gem  of  the  collection  is  a 
group  of  the  members  of  the  Club,  who, 
with  camera  to  the  front,  are  grouped  care- 
lessly but  tastefully,  and  an  excellent  life- 
like photograph  picture  is  secured. 

Views  upon  the  lake,  of  buildings,  rural, 
and  animal  pictures,  make  up  the  collection 
of  the  Cleveland  Society,  which  is  included 
in  one  frame  very  tastefully  arranged. 

And  that  embraces  the  amateur  collection, 
unless  it  be  that  we  include  ourselves,  for  in 
close  proximity  we  have  taken  the  liberty  of 


hanging  a  number  of  our  own  frames  of 
Oriental  views.  A  pretty  extensive  amateur 
excursion  was  ours,  and  we  claim  compan- 
ionship with  the  amateurs,  because  we  want 
to  belong  to  both  branches. 

This  then,  for  the  amateur  work.  The 
next  upright  holds  our  own  humble  display 
of  the  Centennial  Photographic  Co.  Our 
principal  exhibit  is  in  the  southeast  gallery 
of  the  main  building,  where  we  are  occu- 
pied a  good  deal  of  the  time,  when  editorial 
duties  will  permit,  by  photographers  who 
call  upon  us,  taking  them  through  "the 
mill  "  and  showing  them  all  that  there  is  to 
see.  We  have  no  secrets.  We  have  not 
had  the  space  here  and  the  sunshine  to  make 
our  work  what  we  would  like  to  show  in  our 
collection  in  the  photographic  exhibit. 

We  now  follow  with  a  list  of  the  practical 
photographers,  some  of  whom  we  have  men- 
tioned before.  We  shall  give  them  as  the 
pictures  are  found  by  the  observer,  following 
along,  first,  the  south  side  of  the  uprights, 
and  then  going  over  to  the  other. 

Mr.  C.  W.  Motes,  of  Atlanta,  Ga.,  ex- 
hibits two  frames  of  beautiful  photographs, 
similar  to  those  admired  so  much  at  the 
Cincinnati  Exposition.  A  picture  of  "  The 
Daughter  of  Danaus  "  is  here  of  large  size, 
beautifully  printed.  Mr.  Motes  also  makes 
a  new-departure  in  his  china  pictures,  which 
are  very  beautifully  printed  and  toned,  and 
the  only  ones  on  exhibition.  A  careful, 
conscientious  photographer  is  Mr.  Motes, 
and  when  we  see  one  of  his  displays  we  are 
sure  it  is  the  best  he  can  do  ;  he  has  done 
well  this  time. 

Mr.  J.  Henry  Doerr,  of  Louisville,  Ky. : 
Portraits  of  people  old  and  young,  solar 
prints,  and  architectural  views,  all  of  excel- 
lent quality.  Evidently  Mr.  Doerr  believes 
in  quick  plates,  as  is  proven  by  the  expres- 
sion secured  by  him  in  many  of  his  pictures. 
Those  of  children  are  particularly  sweet  and 
life-like,  and  must  have  been  caught  quickly. 
The  photography  is  excellent. 

Mr.  F.  Gutekunst,  of  Philadelphia  :  We 
have  already  alluded  to  the  splendid  exhibit 
of  Mr.  Gutekunst,  which  is  made  up  of  a  suf- 
ficient number  of  frames  to  cover  a  space 
twelve  by  forty  feet.  It  includes,  not  only 
a  fine  collection  of  phototypes,  but  out- 
door work,  and  the  perfection  of   portrait 


THE    PHILADELPHIA    PHOTOGKAPHEB. 


131 


studies.  In  every  sense  this  collection  is  an 
admirable  one,  hard  to  beat.  The  portrait 
work  done  by  the  phototype  process  is  better 
than  anything  we  have  seen  of  the  kind 
from  any  part  of  ths  world ;  they  have  all 
the  qualities  of  the  steel-plate  print,  with  the 
life-like  expression  of  the  photograph.  Mr. 
Gutekunst  is  to  be  commended  particularly 
for  his  silver  printing,  than  which  nothing 
can  be  more  satisfying  ;  every  quality  of  the 
negatives  seems  to  be  secured  with  excellent 
result. 

Messrs.  Genelli  Bro9.,  of  St.  Louis,  Mo. : 
A  frame  of  stamp  pictures  and  stamp  albums. 

Mr.  F.  M.  Turner,  of  Tuscaloosa,  Ala. : 
Cabinet  portraits,  a  crayon  head,  and  a 
drawing.  Mr.  Turner's  child  pictures  are 
among  the  best  of  his  exhibit. 

Mr.  E.  W.  Guerin,  of  St.  Louis,  Mo. : 
Mr.  Guerin's  work  is  well  known  to  many  of 
our  readers.  His  exhibit  covers  a  space 
twelve  by  forty  feet,  and  in  some  senses  is 
the  most  attractive  of  the  whole  collection. 
We  have  no  desire  to  criticise  anyone's 
work  in  this  exhibit,  for  we  are  too  full  of 
admiration  for  anyone  who  has  been  patri- 
otic enough  to  contribute  to  the  collection. 
"We  have  too  often  spoken  in  praise  of  the 
studies  made  by  Mr.  Guerin,  and  are  glad  to 
see  him  ambitious  in  the  direction  of  genre 
and  composition  pictures.  Of  course,  he 
has  made  some  mistakes,  and  some  of  the 
mistakes  unfortunately  hang  here  in  this 
collection,  but  there  is  such  an  overwhelming 
display  of  excellence  that  one  would  be 
prudish  to  find  any  fault.  Such  pictures  as 
the  "Boys  Fishing,"  particularly  the  one 
whose  line  is  fastened,  the  "  Lady  Leaning 
against  the  Wall,"  and  the  "  Young  Miss  by 
the  Seaside,"  are  well  worthy  of  study  and 
following.  Mr.  Guerin  grows  every  year, 
and  the  fact  that  he  studied  art  carefully 
and  conscientiously  is  shown  in  his  pictures 
more  and  more  as  time  goes  on. 

Mr.  H.  Pietz,  of  Springfield,  111.  :  A 
wonderful  combined  collection  of  about  all 
the  kinds  of  work  which  the  ordinary  pho- 
tographer is  asked  to  do ;  winter  and  sum- 
mer, indoor  and  out,  in  the  machine  shop, 
in  the  parlor,  in  the  studio,  out  in  the  fields, 
along  the  winding  river,  and  among  the 
groups  of  families,  we  see  the  camera  has 
been  diligently  and  carefully  at  work,  pro- 


ducing satisfactory  results.  A  better  ar- 
rangement could  have  been  made,  but  the 
same  novelty  could  not  have  been  secured. 

Mr.  Theodore  B.  Schurr,  of  Lockport, 
N.  Y. :  Well  done  for  Mr.  Schurr  for  send- 
ing his  pictures  from  such  a  distance  !  We 
like  to  see  such  ambition,  and  it  is  a  pleasure 
always  to  look  upon  such  studies  as  his  child 
pictures,  some  of  which  are  very  pretty. 

Mr.  E.  W.  Hardy,  of  Boston,  Mass. :  Two 
frames  of  splendid  portraits,  and  another  of 
Mr.  Hardy's  famous  picture  of  the  "  Boston 
Skating  Rink  Carnival,"  with  which  our 
readers  are  familiar.  Mr.  Hardy's  prints 
are  excellent ;  in  pose,  composition,  and 
lighting,  they  have  no  superior.  His  pict- 
ures of  old  persons  and  young  misses  are 
particularly  fine.  One  of  the  best  things 
Mr.  Hardy  has  done  in  making  up  this  collec- 
tion, consists  in  the  particular  way  in  which 
his  pictures  are  mounted;  instead  of  being 
tacked  to  white,  or  black,  or  maroon  card- 
board, as  we  usually  see,  he  has  chosen  a 
delicate  tint  of  aniline  green,  which  he  has, 
with  apparent  carelessness  but  with  consum- 
mate skill,  so  folded  as  to  catch  the  light  and 
shade  beautifully,  and  to  make  a  splendid 
background,  upon  which  his  pictures  are 
fastened.  The  effect  is  exceedingly  neat  and 
pretty,  and  we  commend  it  to  the  study  of 
those  who  exhibit  in  future.  The  idea  is  a 
very  artistic  one,  and  splendidly  carried  out. 

This  completes  the  display  of  the  south 
side  of  the  uprights.  Before  we  take  the 
other,  a  few  feet  further  away,  at  the  rear  of 
the  great  organ,  we  find,  first : 

The  display  of  Mr.  T.  H.  McCollin,  of 
Philadelphia,  of  solar  prints  by  the  platinum 
process  upon  paper  and  cotton  fabric,  and  of 
blue  prints  of  great  size ;  a  collection  ex- 
ceeding, as  a  whole,  anything  of  the  kind 
we  have  seen  on  exhibition. 

Close  to  these  is  the  display  of  solar  prints 
of  Mr.  E.  Long,  of  Quincy,  111.  Well  done 
for  Mr.  Long  also,  who  has  given  evidence 
of  his  good  faith  in  our  art,  and  of  the 
quality  of  his  own  work  by  making  this 
exhibit,  which  does  him  full  justice. 

And  now  for  the  north  side  of  the  uprights. 

Moss  Engraving  Co.,  of  New  York:  A 
very  interesting  series  of  illustrations  of 
their  method  of  photo.-engraving ;  every 
stage  of  the  process  is  illustrated,  from  the 


132 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


negative  to  the  electrotype  plate,  yes,  even 
to  the  paper  printing.  Some  very  excellent 
specimens  in  color  are  included  in  this  collec- 
tion. These  gentlemen  were  among  the 
very  first  to  carry  photo. -engraving  to  per- 
fection, and  deserve  very  great  praise  for  the 
high  standard  they  have  obtained  and  for 
the  business  they  have  built  up. 

Through  the  courtesy  of  Dr.  Vogel,  quite 
a  bright  little  foreign  exhibit  is  made ;  the 
following  is  a  list  of  contributions : 

Dr.  H.  Yogel :  Prints  from  azaline  nega- 
tives and  ordinary  negatives  arranged  side  by 
side  so  that  the  comparison  can  be  made. 
Before  alluded  to. 

Mr.  Edmund  Gaillard,  of  Berlin  :  A  collec- 
tion of  phototypes  of  very  excellent  quality, 
largely  from  negatives  and  photographs  of 
works  of  art. 

Mr.  H.  Haberlandt,  of  Berlin :  Some 
splendid  portraits  of  the  real  old  Berlin 
quality,  of  old  persons  and  young. 

Mr.  Heinrich  Graff,  of  Berlin :  A  series 
of  portraits,  cabinet  and  boudoir  size,  which 
also  evince  the  careful  training  of  the  Berlin 
school. 

We  should  not  overlook  the  two  examples 
of  heliochromographie  by  Mr.  Geillard,  one 
of  an  old  lady,  from  life  apparently,  and  the 
other  "  Christ  Crowned  with  Thorns."  The 
last  is  most  excellent,  equal  to  anything  we 
have  seen  in  this  line. 

Mr.  H.  P.  Robinson,  of  Tunbridge  Wells, 
Eng.  :  The  series  of  nine  pictures,  of  which 
mosaics  appeared  in  our  magazine  some  time 
ago ;  for  remarks  please  refer  to  the  article 
which  accompanies  them. 

Messrs.  Hargrave  &  Gubelmann,  of  New 
York  :  Pour  frames  of  a  large  series  of  views 
of  marine,  instantaneous,  and  architectural 
subjects,  and  three  13  x  16  pictures  of  inte- 
riors, all  of  excellent  quality.  These  gentle- 
men pride  themselves  particularly  upon  their 
instantaneous  work,  and  well  they  may,  for 
seldom  do  we  see  anything  better  in  this 
direction. 

Mr.  C.  A.  Schindler,  of  Hoboken,  1ST.  J. : 
A  frame  of  photographs  of  furniture,  in- 
tended more  particularly  to  attract  photog- 
raphers to  this  excellent  manufacture,  but 
in  which  we  fear  he  will  be  disappointed  in 
results. 

Mr.  G.  F.  Mugnier,  of  New  Orleans  :  Mr. 


Mugnier  confines  his  work  particularly  to 
cabinet  size  and  stereoscopic  views,  but 
throughout  we  see  evidence  of  the  skilled 
photographer  and  careful  artist.  Not  only 
in  his  choice  of  subject  and  choice  of  time, 
but  in  technicality  are  his  views  admirable. 
Still  more,  we  can  say,  he  has  evidently 
made  it  his  purpose  to  illustrate  thoroughly 
the  productions  of  the  sunny  south,  and  he 
has  done  it  with  conscientious  care,  starting 
with  the  primeval  forests,  swamps,  and 
groves,  lake  scenery,  bayous,  and  the  mighty 
river,  and  carrying  us  through  all  the  mys- 
teries of  the  manufacture  of  turpentine,  the 
raising  of  rice,  cotton,  sugar,  and  grain,  and 
their  manufacture  and  preparation  for  the 
market,  through  the  various  stages  until  we 
reach  the  freedman  in  all  his  home  scenes 
and  workings,  from  the  preparation  of  the 
soil  to  the  demolition  of  the  sweet  and  suc- 
culent sugar  cane,  to  which  he  is  so  largely 
devoted. 

Mr.  Mugnier  deserves  the  highest  com- 
mendation for  his  industry  in  this  direction. 

Following  his  admirable  collection  is  the 
portrait  of  the  Soldier  Priest,  Father  Hubert, 
S.J.,  of  the  Jesuit  Church,  crayoned  by 
Miss  Louise  Piere,  a  pupil  of  A.  W.  Warner, 
artist. 

Mr.  Theodore  Lilienthal,  of  New  Orleans  : 
The  only  collection  of  portraits  by  a  New 
Orleans  artist.  One  crayon  specimen  breaks 
the  rule,  the  rest  being  plain.  Mr.  Lilien- 
thal is  an  ambitious,  wide-awake  photogra- 
pher, believing  that  the  best  will  take  the 
best  with  the  public,  and  has  made  a  fine 
display  here  of  his  work.  His  portraiture  is 
of  excellent  quality,  and  the  collection 
includes  a  splendid  group  of  musicians, 
which  we  consider  the  gem  of  the  lot.  He 
is  apparently  very  successful  with  children. 
Mr.  Lilienthal  has  recently  produced  a  very 
fine  composition  group  of  the  Mexican 
Band,  which  we  thought  would  certainly 
appear  here,  but  for  some  reason  has  been 
left  out. 

Mr.  T.  L.  Blanks,  of  Vicksburg,  Miss.  : 
This  is  one  of  the  brightest  spots  in  the 
whole  collection.  We  are  not  familiar  with 
the  plates  that  Mr.  Blanks  uses;  we  have 
grown  to  believe  that  that  has  not  so  much 
to  do  with  it,  provided  the  photographer 
knows  how  to  handle  them.     Mr.   Blanks 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


133 


has  secured  some  most  admirable  results 
which  attract  us  whenever  we  go  in  the 
neighborhood,  we  must  admit.  Here  are 
five  frames  of  families,  rural  groups,  archi- 
tectural subjects,  steamers  and  vessels  under 
go,  and  what  not  of  subjects  made  by  the 
earnest  photographer  who  loves  his  work. 
Two  or  three  very  ambitious  groups  are 
included  in  this  collection,  one  representing 
the  Old  Hermit  in  his  Woodland  Home,  and 
another  apparently  an  Old  Fisherman  Camp- 
ing out  near  some  Sequestered  Bayou. 

A  number  of  cemetery  views  are  very  ex- 
cellent in  quality ;  some  of  the  shadows 
which  fall  upon  these  pictures  are  as  black 
as  night,  and  yet  wondrously  exact  in  detail. 
It  is  rarely  that  one  can  gather  such  in  his 
work.  Mr.  Blanks  is  one  of  our  rapidly 
growing  photographers. 

Mr.  I.  W.  Taber,  of  San  Francisco,  who 
at  the  time  of  the  taking  of  this  display  was 
manufacturing  dry-plates,  has  made  a  collec- 
tion from  his  plates  which  is  most  admirable. 
Mr.  Taber  has  gone  even  so  far  as  Japan  to 
secure  some  of  his  illustrations.  Here  are 
portraits,  theatricals,  instantaneous,  marine) 
and  other  views  of  large  size,  with  a  fine 
collection  of  the  Yosemite  Valley.  "We 
have  alluded  to  Mr.  Taber 's  collection  be- 
fore, and  engraved  what  we  considered  the 
gem  of  his  collection  in  our  March  issue ; 
we  could  do  nothing  now  that  would  pre- 
sent his  work  before  his  fellow  craftsmen  in 
a  more  favorable  light,  and  so  we  proceed  to 
the  next  and  last  display  of 

Mr.  William  H.  Jackson,  of  Denver,  Col. : 
Mr.  Jackson  has  also  had  commendation 
from  us  in  this  direction,  and,  therefore,  we 
need  not  repeat  history.  His  work  is  always 
splendid.  His  pictures  of  old  Mexico  create 
in  us  a  continuous  desire  to  battle  with  the 
subjects  that  are  found  there,  and  we  fear 
we  cannot  rest  until  we  wrestle  with  them 
under  our  own  focussing  cloth. 

We  must  not  close  our  notes  of  this  ex- 
hibit until  we  have  referred  to  the  trans- 
parency collection.  There  are  only  three 
exhibitors. 

Mr.  F.  Gutekunst,  of  Philadelphia,  makes 
a  splendid  display  of  outdoor  and  landscape 
subjects,  which  presents  to  the  observer  all 
the  excellence  and  technical  qualities  of  his 
negatives  in  handsome  style.      We  do  not 


think  a  better  transparency  was  ever  made 
than  his  one  of  the  United  States  Capitol 
building  at  Washington.  "Superb  "  is  the 
only  word  that  will  convey  a  sense  of  its  ex- 
cellence, and  even  then  it  is  a  feeble  word 
unless  accompanied  by  the  other  term,  won- 
derful ! 

Mr.  John  A.  Scholten,  of  St.  Louis, 
makes  the  most  striking  exhibit  of  any  in 
the  gallery.  Here  are  about  twenty  portrait 
subjects  framed  with  borders  of  stained  glass, 
arranged  in  bits  or  parts  after  the  style  of  the 
stained  glass  windows  seen  in  churches, 
cathedrals,  etc.  Should  such  a  thing  be 
suggested  to  us  we  would  say — horrible 
taste,  but  when  we  examine  the  delicate 
qualities,  lovely  tones  and  gradations  of 
light  and  shade  of  the  portraits  in  contrast 
with  these  richly  colored  borders,  we  cannot 
but  help  approve  and  admire.  It  is  a  daring 
reach  in  photography,  and  few  would  wish 
to  place  their  work  in  contrast  with  so  much 
color,  but  Mr.  Scholten  has  no  reason  to  be 
afraid ;  his  pictures  rather  gain  than  other- 
wise by  such  company,  and  we  hope  to  see 
attention  given  in  this  direction  by  other 
photographers. 

Adjoining  his  transparencies  is  our  own 
collection  of  some  fifteen  statuary  subjects 
made  upon  Mr.  Carbutt's  transparency 
plates.  It  would  be  unwise  for  us  to  say 
what  we  think  of  them.  One  of  our  own 
frames  of  transparencies  has  met  with  the 
fate  which  seemed  to  follow  several  other  of 
the  exhibits  for  which  space  was  applied  in 
the  photographic  department,  viz.,  it  has  not 
yet  arrived.  It  is  probably  serving  as  a 
part  of  the  collection  of  some  unclaimed 
luggage  in  some  railway  or  calaboose  be- 
tween here  and  Philadelphia.  We  know 
not  where ;  we  wish  we  did  ! 

We  might  say  we  wish  a  more  generous 
exhibit  of  photographs  had  been  made  at 
this  exposition,  were  it  not  that  we  realize 
sensibly  and  with  great  pain,  that  scarce 
enough  people  have  reached  this  quarter,  to 
have  made  it  pay  for  any  great  outlay  or 
trouble.  This  is  probably  an  open  secret, 
and,  therefore,  we  make  bold  to  reassert  it. 
A  magnificent  exposition  at  large  is  here, 
and  it  is  a  great  pity  that  more  people  are 
not  here  to  enjoy  the  lessons  which  it  teaches, 
and  to  profit  by  them. 


134 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


In  our  next  we  hope  to  give  a  detailed  state- 
ment of  the  photographers'  exhibit  made  in 
the  Government  and  States  building,  where 
photography  has  been  largely  employed 
to  illustrate  the  industries,  the  technical  ad- 
vantages, and  the  products  of  our  country, 
as  well  as  to  exhibit  its  own  capabilities  in 
the  various  arts,  sciences,  and  mechanics  of 
our  great  land.  In  other  words,  we  hope  to 
reveal  the  fact  that  our  art  representation  in 
that  great  building  is  one  vast  photographic 
kindergarten.  Until  we  make  this  assertion 
good,  farewell ! 


OUR  PICTURE. 


Perhaps  no  branch  of  photography  de- 
mands a  greater  exercise  of  the  taste  and 
judgment,  to  be  effective,  than  portraiture. 
The  difficulties  connected  with  composition 
pictures  are  by  no  means  as  great,  the  abund- 
ance of  the  material  allowing  a  latitude  in 
the  combinations  which  may  result  in  a 
pleasing  and  harmonious  effect,  but  it  seems 
if  the  proper  attitude  and  expression  of  the 
subject  be  not  grasped  and  represented  the 
portrait  appears  but  commonplace  and  un- 
interesting. 

First-rate  portraiture  will  always  be  rare 
notwithstanding  that  the  demand  for  it  is 
immense,  because  it  requires  a  peculiar 
talent  to  produce  true  or  excellent  work. 
Mere  likeness  will  not  satisfy,  because  almost 
anyone  without  any  skill  in  lighting  and 
posing  can  make  a  photograph  which  will 
look  more  like  the  sitter  than  like  anyone 
else,  but  such  work  must  not  be  called  por- 
traiture, neither  can  it  lay  just  claim  to 
this  name  even  though  the  technical  skill 
of  the  photographer  be  considerable,  and 
all  the  aids  of  proper  lighting  and  the  re- 
toucher's pencil  be  enlisted  in  the  service. 

Something  more  than  technical  excellency 
is  required.  He  must  possess  the  ability  to 
give  expression  to  the  face  of  the  sitter. 
To  accomplish  this,  we  are  willing  to  admit, 
■  'requires  not  only  talent  in  the  operator,  but 
a  certain  amount  of  general  culture  which 
every  photographer  does  not  have.  It  may 
sound  absurd  to  say  that  a  true  likeness  of 
a  man  is  not  one  which  merely  looks  ex- 
actly line  for  line  like  himself,  but  it  is  true. 
It  must  not  merely  resemble  him   as  we  see 


him  in  his  daily  life,  but  must  bring  out 
his  character,  his  peculiarity  of  disposition, 
the  inner  likeness  of  the  mind,  which  can 
only  be  enticed  by  judicious  management 
to  manifest  itself  in  the  countenance.  Do 
not  imagine  that  this  is  presumptuous  on 
the  part  of  photography.  We  have  fre- 
quently seen  that  peculiarity  of  sweetn'ess 
of  expression  in  a  simple  photograph  which 
so  delights  us  in  the  grand  paintings  of 
Guido  and  Velasquez.  We  have  seen  faces 
which  actually  conveyed  the  thoughts 
which  were  passing  through  the  mind  of 
the  sitter — thinking  portraits.  It  may,  we 
are  willing  to  acknowledge,  have  been  acci- 
dental, but  it  proves  that  such  expressions 
can  be  caught  by  the  quick  pencil  of  light, 
as  well  as  by  the  brush  of  the  painter.  We 
have  seen  portraits  which  reminded  us  of 
Reubens,  Gainsborough,  Eembrandt,  Rey- 
nolds, as  distinct  in  individuality  as  the 
work  of  these  great  men.  We  do  not  mean 
that  they  had  the  Rembrandt  or  Reubens 
method  of  lighting,  we  have  seen  many 
wretched  caricatures  which  have  been  des- 
ignated with  such  titles. 

Moreover,  these  portraits  have  not  always 
been  the  pictures  of  beautiful  persons,  some 
of  the  sitters  might  have  been  called  plain 
but  for  this  beauty  of  expression.  Beauty 
of  features  is,  indeed,  a  great  aid  in  making 
a  picture  interesting  but  it  is  not  essential. 
Expression  is  essential,  and  without  it  no 
face  however  classical  or  lovely  can  be 
effective. 

Year  after  year  our  exhibitions  of  oil 
paintings  are  crowded  with  portraits  of 
persons  about  whom  we  know  nothing,  or 
care  nothing.  Sometimes  the  face  of  a 
celebrated  actress  will  engage  our  attention 
no  matter  how  lacking  the  expression  may 
be,  but  here  we  are  interested  in  the  object 
itself  and  not  in  the  work  of  the  artist,  yet, 
let  the  hanging  committee,  as  they  some- 
times do,  place  a  picture  by  some  distin- 
guished painter,  a  mere  portrait,  which 
some  lover  of  the  art  has  lent,  among  this 
vast  crowd  of  uninteresting  faces  upon  the 
wall,  and  that  single  picture  will  be  pointed 
out  and  admired  by  people  who  know  little 
or  nothing  about  the  principles  of  art,  more 
than  all  the  rest,  and  why  ?  Simply  be- 
cause the  genius  of  the  painter  is  there ; 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


135 


technical  excellency  is  not  looked  for, 
though  it  may  be  there  also — for  greatness 
generally  combines  the  two.  If  photog- 
raphers would  keep  to  the  high  standard, 
and  not  be  afraid  to  try  to  do  something 
which  painters  would  feign  stop  photogra- 
phers from  doing,  we  are  satisfied  that 
people  would  take  as  great  delight  in  look- 
ing at  photographic  portraits  as  they  do  in 
looking  at  landscapes,  and  if  sitters  would 
more  rigorously  demand  these  qualities  we 
are  sure  that  photographers  would  achieve 
better  results. 

Nothing  but  a  good  portrait  is  worth 
having,  mere  representation  is  too  often 
mere  caricature,  and  unless  the  photog- 
rapher can  body  forth  the  mind  in  the  face, 
his  portraits  will  be  commonplace  and  in- 
artistic no  matter  how  beautifully  he  may 
pose  and  light,  how  excellently  he  may  time 
the  negative,  or  with  what  skill  he  may 
develop  the  plate. 

We  give  our  readers  this  month  a  por- 
trait by  W.  Wykes,  of  Grand  Kapids, 
Mich.  The  photographer  has  selected  with 
good  taste  a  face  with  well-cut  and  regular 
features.  The  lighting  has  been  so  ar- 
ranged that  the  dark  portions  are  nicely 
relieved  against  the  light  background  of 
the  picture.  The  expression  is  good,  the 
eyes  seem  to  be  gazing  at  the  far-off  horizon 
and  the  thoughts  of  the  fair  sitter  are,  as 
the  title  suggests,  over  the  sea.  The  prints 
were  made  upon  the  N.  P.  A.  albumen 
paper,  furnished  by  Messrs.  E.  &  H.  T. 
Anthony  &  Co.,  591  Broadway,  N.  Y. 


ON  PRINTS  AND  PRINTING. 

We  have  had  so  many  inquiries  lately 
about  prints  and  printing,  that  we  think  it 
advisable  to  give  some  hints  to  those  in  dis- 
tress in  this  branch  of  our  art.  Many  com- 
plaints have  been  made  about  the  albumen 
softening  and  washing  away,  leaving  the 
paper  plain  and  dead.  We  shall  give  some 
hints  and  formulas  that  may  help  many  who 
are  too  modest  to  ask  for  advice.  Take  first 
the  silver  bath ;  it  is  necessary  to  note  the 
following  facts.  To  prevent  the  albumen 
dissolving  off  the  paper,  a  certain  strength 
of  nitrate  of  silver  is  necessary.  It  is 
not  possible  to  make   a   bath  whose   fixed 


strength  is  lower  than  twenty-five  grains,, 
and    get   brilliant    prints.      Even    at    this 
strength  it  is  necessary  to  add  some  neutral 
or  inactive  nitrate  like   ammonium  or  so- 
dium.     For  instance,  either  add  nitrate  of 
ammonium   in   crystals    (25  grains   to   the 
ounce,  or  1  grain  for  each  grain  of  silver) 
or  divide  the  solution  into  two  equal  parts, 
add  liquor  ammonia  to  the  one-half  until  it 
becomes  brown  and  clears  again,  then  mix 
with   the   other  half  and   clear   away   the 
brown  precipitate  by  adding,  slowly,  nitric 
acid,  c.  p.,  until  the  solution  is  clear:  this  con- 
stitutes the  old  ammonia  nitrate  bath.     The 
limit  of  strength  should  never  exceed  sixty 
grains,  although  it  has  been  used  at  eighty, 
and  sometimes  at  one  hundred  grains.     The 
question  resolves  itself  into  what  strength 
of  silver  shall  we  fix  on?     We   must  re- 
member also  that  silver  nitrate  solution  has 
a  stronger  affinity  for  chlorine  than  for  albu- 
men, and  that  the  silver  albuminate  is  not 
formed  until  long  after  the  chloride  of  am- 
monium   has    been    converted    into   silver 
chloride.     In  connection  with   floating  the 
paper  on  the  silver  bath,  let  us  notice  that 
the  moment  the  paper  is  placed  in  contact 
with  the  silver  solution,  chloride  of  silver  is 
formed,   and   the   nitrate   of   silver  in   the 
layer  immediately  in  contact  with  the  face 
being  scarcely  diminished  by  the  chloride 
formation,  an  albuminate  is  formed,  at  once 
forming  a  film  which  is  to  a  great  extent 
impermeable  to  the  solution.     The  further 
penetration  of  the  solution  will  be  slow,  so 
the  time  of  floating  must  be  prolonged  in 
order  fully  to  saturate  both  the  salt  and  the 
albumen.     In  tracing  the  action  of  a  weak 
solution  we  find  the  solution  would  as  be- 
fore  at  once  form  chloride  of  silver  ;    but 
before  the  coagulation  of  the  albumen  on 
the  surface   had  taken   place   the  solution 
would  penetrate  to  the  interior  of  the  paper, 
and  the  albuminate  formation  would  pro- 
ceed equally  throughout  the  whole  interior 
of  the   paper.      In   this    case   the   floating 
should  be  shorter,  for  if  floated  too  long  the 
solution  in  the  interior  becomes  weakened, 
and  dissolves  part  of  the  albumen,  and  will 
be  carried  by  the  water  into  the  paper.     It 
may  dissolve  away  partly  on  the  surface, 
presenting    a    dead,   lustreless   appearance, 
and  form  a  picture  in  the  paper  instead  of 


136 


THE   PHILADELPHIA    PHOTOGEAPHEK. 


on  the  surface.  From  the  ahove  we  find 
that  a  strong  solution  will  require  longer 
floating,  while  a  paper  floated  on  a  weak 
solution  requires  short  floating.  A  strong 
solution  does  not  lose  its  strength  as  rapidly 
as  a  weak  one,  and  may  not  require  as  close 
attention.  For  the  weak  solution  a  satur- 
ated solution  of  silver  should  he  kept  at 
hand,  and  some  added  to  the  bath  every  few 
sheets  that  are  floated  to  keep  it  up  to 
strength.  For  general  work  and  in  practice, 
a  moderately  strong  bath  is  recommended, 
say  about  fifty  grains  to  an  ounce,  only  add- 
ing ammonia  in  very  dry  weather.  Some 
brands  of  paper  do  not  seem  to  work  even 
with  all  the  knowledge  given  above.  We 
would  advise  in  case  of  softening  of  the 
albumen  (supposing  the  bath  and  floating 
to  have  been  properly  attended  to)  the  ad- 
dition of  a  lump  of  alum  placed  in  the 
corner  the  silvering-dish  or  the  addition  of  a 
solution  of  alum  (one  grain  to  an  ounce), 
one  ounce  to  the  quart  of  silver.  This  will 
give  a  gloss  to  the  paper,  and  sometimes 
make  a  weak  and  apparently  worn-out  bath 
give  bright,  clean,  brilliant  prints;  it  cer- 
tainly does  help  to  coagulate  the  albumen 
which  might  otherwise  dissolve  away. 

The  safest  plan  is  to  place  the  lump  in  the 
dish,  or  in  the  filter  when  filtering  the  solu- 
tion ,  and  two  minutes  floating  on  a  fifty  grain 
solution  is  sufficient  where  the  temperature  is 
not  too  low.  The  room  should  be  warm,  or  the 
floating  must  be  prolonged  to  three  minutes. 
It  is  also  advisable  to  have  the  fuming-box 
dry  or  warm,  otherwise  weak  sickly  prints 
are  the  result.  Fume  long  on  cold  days — 
one  hour  is  not  too  long.  Some  years  ago  the 
Treasury  Department  at  Washington  was 
turning  out  wonderfully  rich  prints,  which 
we  learned  afterwards  they  claimed  were 
produced  by  fuming  the  paper  ninety 
minutes  and  sometimes  two  hours.  In 
cutting  paper  it  is  strongly  recommended 
never  to  cut  it  in  such  manner  as  will  make 
the  prints  of  a  series  stretch  two  ways  of 
the  paper ;  that  is,  cut  some  cabinets  say 
vertically  out  of  a  sheet,  and  others  hori- 
zontally, since  the  paper  stretches  the  width 
of  the  sheet,  and  should  one  print  be  made 
each  way,  mounted,  and  held  side,  by  side, 
a  marked  difference  will  be  seen,  the  width 
of  a  face  showing  more  if  exaggerated  than 


the  length,  therefore  it  is  preferable  to  cut 
the  sheets  for  portraits,  when  possible,  so 
that   the   face   is   lengthened.     Should  the 
face  of  a  sitter  be  naturally  long,  it  can  be 
very  much  improved  by  cutting,  so  that  the 
paper  will   stretch    the   broad  way  of   the 
face.     An    economical    plan   is  to  cut   the 
paper,   before    printing,   into   exact    sizes, 
either  with  a  knife  or  very  sharp  scissors ; 
mark  the  negatives  either  with  lead-pencil 
or  by  pasting  strips  of  paper  on  them  as 
guides.     The  advantage  of  cutting  before 
toning  is  certainly  worth  the  trouble.     In 
the  first  place,  the  paper  clippings  are  valua- 
ble, and  in  the  second  place  the  prints  can 
be   blotted    directly   from    the   water   and 
mounted  without  first  drying,  for  by  drying 
and  cutting,  then  again  wetting  the  prints, 
the  albumen  will  often  crack  and  present  a 
rough   surface,   which    cannot   be   covered 
even    with    burnishing.      The    subject   of 
blisters  is  one  that  seems  never  to  have  been 
satisfactorily   answered.     We   have   found 
in  almost  every  case  that  they  can  be  at 
least  modified  if  not  wholly  prevented  by 
reducing  the  strength  of  the  hypo  solution, 
making  it  one  ounce  of  soda  to  eight  ounces 
of  water,  and  allowing  the  prints  to  remain 
in  this  from  twenty  to  thirty  minutes.    Test 
the  soda  solution  for  acidity,  and  if  acid,  make 
neutral  or  slightly  alkaline  with  ammonia. 
This  prevents  bad  tones  and  stops  blistering. 
To  those  whose  water  supply  for  washing 
prints   is   limited,    we   would    suggest   the 
using  of  acetate  of  lead,  or  sugar  of  lead, 
after  soaking  and  making  several  changes 
of  water.     After  fixing  make  a  solution  of 
the  eliminator  by  taking  one  ounce  of  a 
saturated  solution   to   one  quart  of  water, 
and  adding  acetic  acid  until  the  solution 
clears,  then  immerse  the  prints  and  keep  in 
motion,  allowing  them  to  remain  in  it  ten 
minutes,  after  which  give  a  few  changes  of 
water. 


A  PHOTOGRAPHIC  VISIT  TO  SOME 
OF  OUR  BATTLEFIELDS. 


BY    WILLIAM    H.    RAU. 


Some  weeks  after  our  trip  to  Fredericks- 
burg our  party  again  made  a  visit  to  a 
battlefield.  This  time  to  Antietam,  where 
our  army  led   by  McClellan  defeated   the 


THE   PHILADELPHIA    PHOTOGRAPHER. 


137 


Confederates.  Colonel  Boteler,  of  Sharps- 
burg,  kindly  took  us  in  charge  and  pointed 
out  to  us  the  most  striking  places  incidental 
to  the  battle.  Getting  into  carriages  our 
party  was  driven  through  the  town  of 
Sharpsburg  towards  the  Antietam,  which 
flows  into  the  Potomac  River  some  miles 
above.  The  scenery  was  quiet  and  beauti- 
ful. To  the  right  lay  the  Potomac  and  the 
hills  beyond,  from  which  side  the  Federal 
forces  fought  their  way.  After  a  ride  of 
half  an  hour  we  arrive  opposite  a  cornfield, 
in  which  we  see  a  barn  and  some  houses. 
This  scene  must  be  photographed,  it  is  so 
quiet  now,  but  during  the  war  it  was 
the  scene  of  fearful  carnage.  Col.  Boteler 
told  us  he  saw  men  carry  out  legs,  arms, 
and  parts  of  bodies  from  that  barn,  and 
load  them  in  carts  to  haul  them  away  for 
burial.  The  fighting  at  this  place  was 
terrific,  the  troops  were  so  badly  mutilated 
that  scarcely  a  man  escaped  without  a  wound. 
The  view  of  this  field  and  group  of  houses 
was  made  dead  against  the  sun,  which 
gives  it  a  sombre  overcast  effect,  not  at 
all  inappropriate.  A  mile  further  on  and 
we  reach  the  National  Cemetery,  where 
are  buried  the  Federal  dead  who  died  near 
or  in  the  battle  of  Antietam.  On  a  knoll 
in  the  centre  of  the  cemetery,  from  which 
radiate  the  walks,  stands  the  colossal  granite 
statue  of  a  soldier  "atrest."  This  statue  was 
shown  at  the  Centennial  Exhibition  as  a  sam- 
ple of  American  workmanship,  and  stood 
between  the  Main  Building  and  Memorial 
Hall.  Many,  no  doubt,  will  remember  the 
quiet  repose  of  the  figure.  Standing  on  the 
base  of  the  figure  we  can  see  the  entire  bat- 
tlefield. One  view  made  from  here,  look- 
ing across  the  valley,  shows  the  position  of 
McClellan's  headquarters.  Another  view 
looking  toward  the  Old  Dunker  church, 
shows  thousands  of  headstones  and  a  beau- 
ful  undulating  country,  over  which  much 
sanguinary  fighting  was  done.  Passing 
along  the  road  towards  the  Dunker  Church, 
we  notice  the  old  rail  fences  perforated  and 
stuck  with  bullet-holes,  etc.  Scarcely  a  per- 
son is  met  with.  Near  the  church  is  a  lane 
at  right  angles  with  the  road,  which  by 
many  is  thought  to  be  the  bloody  lane 
where  the  dead  at.d  wounded  lay  piled  up 
in  layers — it  li'.erally   flowed   with   blood. 


Here,  also,  stands  the  quiet,  plain  Dunkor 
church,  bearing  many  bullet  marks,  and  a 
peaceful  appearance  it  has  now.  A  little 
to  the  north  of  this  is  another  lane,  which 
by  others  is  believed  to  be  "  Bloody  Lane." 
To  make  sure  of  having  a  picture  of  "  The 
Bloody  Lane,"  we  made  negatives  of  both. 
The  day  was  delightful,  clear  and  temper- 
ate, and  not  much  wind — a  very  favorable 
one  for  photography.  Turning  back  towards 
the  cemetery,  and  on  reaching  the  pike 
and  following  it  to  the  east,  we  soon  ar- 
rive at  the  famous  Burnside  Bridge,  named 
after  the  gallant  general  who  fought  so 
hard  to  get  possession  of  it.  The  bridge 
don't  seem  to  have  suffered  any  ;  if  so, 
it  has  been  thoroughly  repaired.  It  is 
built  of  solid  masony  and  has  three  arches, 
and  crosses  at  a  bend  in  the  creek.  This 
was  certainly  our  most  picturesque  subject 
of  the  day.  The  light  was  just  at  that 
angle  when  it  gave  bright  lighting  and  rich 
shadows,  both  in  bridge  and  foliage.  The 
country  seemed  quite  cultivated  compared 
with  the  other  places  visited  earlier  in  the 
day.  Standing  on  the  centre  of  the  bridge 
we  get  a  gem  looking  up  the  stream,  the 
trees  overhanging  the  water,  and  in  many 
places  trailing  in  it.  Retracing  our  way  a 
few  hundred  yards  we  came  to  a  point  from 
which  the  fighting  ground  of  General  Burn- 
side's  army  could  be  well  mapped  out,  and 
although  the  light  was  Unfavorable  we  made 
a  view  showing  this  most  excellent  location. 
Going  back  until  we  are  on  the  banks  of 
the  Potomac  River,  we  follow  along  the 
towpath  of  the  canal  until  we  arrive  oppo- 
site a  bluff  on  the  opposite  or  eastern  bank 
of  the  stream.  The  bluff  is  about  five  hun- 
dred feet  high,  and  is  very  abrupt  and  al- 
most perpendicular.  Back  of  this  is  almost 
a  level,  on  which  our  troops  (the  Corn  Ex- 
change regiment  of  Philadelphia)  came 
charging  down  at  full  tilt,  and  coming  sud- 
denly and  unexpectedly  to  the  edge  of  the 
cliff,  went  over,  mangling  and  crushing 
them  to  death.  An  eye-witness  on  the  op- 
posite side  of  the  stream  says  he  saw  an 
officer  on  horseback  make  a  tremendous 
leap,  and  then  a  double  somersault  before 
striking.  He  was  killed  by  the  fall.  Our 
view  shows  the  rocky  face  of  the  cliff  plainly 
against  the  dark  foliage  on  either  side,  and 


138 


THE    PHILADELPHIA    PHOTOGEAPHBB. 


can  only  be  seen  at  long  range  or  on  oppo- 
site banks  of  the  stream.  A  few  hundred 
yards  further  down  the  river  is  a  milldam, 
and  which  many  Federal  troops  tried  to 
cross  and  were  picked  off  one  by  one  by 
the  rebel  sharpshooters.  After  much  per- 
suasion we  induced  Col.  Boteler  to  take  us 
to  the  ruins  of  his  house,  which  was  burned 
by  order  of  the  Union  General  Hunter. 
He  had  not  visited  this  place  since  its 
destruction,  and  although  he  had  occasion 
to  pass  it  at  times  on  the  road,  yet  he 
never  entered  the  grounds,  as  all  the  sadness 
of  the  destruction,  ete.,  would  be  recalled, 
and  this  was  not  pleasant  However,  he 
consented,  and  took  us  around  the  grounds, 
showing  the  various  buildings  or  locations 
where  they  once  stood.  The  ruin  of  the 
house  is  almost  hidden  by  a  growth  of  trees 
struggling  almost  to  its  lofty  chimneys. 
It  was  indeed  a  mournful  sight.  A  wealthy, 
magnificent  mansion  and  home,  founded  in 
colonial  days,  destroyed  in  a  few  hours. 
We  secured  a  view  of  this  interesting  relic 
of  the  war,  for  it  must  be  remembered  that 
Col.  Boteler  was  an  active  man  on  the  Con- 
federateside.  He  served  in  Congress  previous 
to  the  Rebellion,  and  when  the  war  broke  out 
went  with  his  State,  Virginia,  was  a  Con- 
federate Congressman,  and  on  the  staff  of 
Stonewall  Jackson.  He  related  numerous 
stories  and  anecdotes  about  Jackson,  among 
which  was  the  following :  He  said  that 
Stonewall  Jackson  had  a  constant  fear  that 
his  arms  might  suddenly  become  paralyzed, 
and  so  he  kept  them  in  motion  at  all  times 
when  it  was  possible,  and  especially  when 
a  little  excited.  This  was  especially  the 
case  when  he  was  on  a  horse,  and  riding 
among  his  troops,  when  he  would  hold  his 
arm  high  above  his  head  and  move  it 
slowly  around,  giving  the  impression  among 
many  that  he  was  constantly  praying  while 
fighting.  He  was  very  devout,  and  as  gen- 
tle as  a  woman.  We  last  visited  the  Con- 
federate cemetery,  where  found  a  plot  laid 
out  for  the  Confederate  dead.  Here  we  saw 
the  first  monument  erected  to  the  memory 
of  the  Confederate  soldiers  who  died  at 
Antietam. 


PHOTOGRAPHIC  EXPERIENCES 

AT  THE  NEW  ORLEANS 

EXPOSITION. 

BY    G.    HANMEK   CROUGHTON. 

Another  month  has  developed  more  and 
varied  experiences  which  are  both  interest- 
ing and  instructive.  When  we  started  in 
here  we  lighted  the  developing  and  chang- 
ing rooms  by  lamps  hung  outside  a  window 
glazed  with  ground  and  ruby  glasses;  in 
this  manner  we  got  a  steady,  even  light 
which  never  varied,  and  we  could  work 
with  certainty  every  day,  no  matter  if  the 
day  was  dull  or  sunshiny ;  but  the  under- 
writers objecting  to  our  use  of  lamps,  we 
.were  obliged  to  have  holes  cut  in  the  side 
of  the  building,  and  to  get  daylight  into 
both  developing  and  changing  rooms. 

This  change  has  been  the  source  of  a  great 
deal  of  trouble  to  us.  In  the  first  place, 
the  developing  ioom  being  on  the  south 
side  of  the  building,  we  do  not  get  the  sun 
till  nearly  noon,  so  that  in  the  first  part  of 
the  morning  we  can  work  with  less  of  the 
ruby  light  than  we  can  in  the  afternoon, 
when  two  panes  of  ruby  and  one  of  ground 
glass  was  found  to  be  insufficient.  Suspect- 
ing that  the  light  was  not  safe,  the  devel- 
oper and  one  of  the  operators  tried  it  and 
placed  a  plate  under  a  negative  in  the  sink 
where  the  developing  is  done,  and  in  four 
minutes  a  well-exposed  transparency  was 
produced.  We  had  then  to  reduce  the 
light  till  it  was  more  like  the  light  pro- 
duced by  the  lamps,  and  we  find  that  on  a 
bright  day  it  is  not  safe  to  develop  unless 
there  are  two  thicknesses  of  ruby  glass,  one 
of  ground  glass,  and  one  of  green.  Having 
the  green  glass  inside  gives  a  nice  quiet 
light  which  is  much  more  agreeable  to  the 
eyes  than  the  ruby;  but  it  is  astonishing 
how  much  light  the  green  glass  cuts  off. 

Now  a  few  words  about  the  plates  and 
exposure.  I  did  not  mention  the  names  of 
the  plates  in  my  last  when  speaking  of  our 
work  here,  but  Mr.  Inglis  has  himself  in 
his  advertisement  stated  that  Mr.  E.  L. 
Wilson  says  his  plates  are  too  quick.  He 
says  in  his  advertisement,  and  in  a  letter  to 
Mr.  E.  L.  Wilson,  that  he  has  developed 
two  negatives  made  upon  his  plates,  one  of 
them  exposed  one  second  and  the  other  ten 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


139 


seconds,  and  produced  negatives  of  equal 
quality  from  each.  That  is  no  doubt  cor- 
rect; we  have  done  so  here  upon  all  the 
plates  we  have  used,  and  anyone  can  do  the 
same  with  any  plate  in  the  market.  I 
published  in  the  English  photographic 
journals  an  experience  of  the  same  sort,  with 
English  plates,  nearly  five  years  ago,  and 
have  all  through  my  experience  here 
manipulated  in  the  same  manner  plates 
made  by  Cramer,  the  St.  Louis  plate,  East- 
man's, Passavant's,  the  I.  C.  plate,  the 
Stanley  plate,  in  fact,  as  I  have  said  before, 
any  plate  in  the  market  will  do  the  same, 
providing  your  first  exposure  is  eno  ugh.  You 
can  put  ten  times  the  exposure  and  (if  you 
know  you  have  done  it)  produce  the  same 
effect  by  manipulating  your  developer. 
But  the  difficulty  here  has  been  to  know 
what  exposure  has  been  given,  because  the 
actual  time  was  no  criterion  whatever  for 
the  exposure.  One  exhibit  has  been  over- 
exposed in  one  minute,  while  another  has 
been  underexposed  in  one  hour  with  the 
same  instrument  and  same  stop  in  both 
cases.  I  have  taken  an  8  x  10  group  out- 
doors with  a  Morrison  lens  on  an  Inglis 
plate  in  two  seconds  with  the  second  smallest 
stop.  An  exhibit  has  been  made  in  the 
building  with  the  same  instruments  and 
the  same  plates,  which  was  not  overexposed 
with  two  and  a  quarters  hours'  exposure. 
One  dodge  which  has  been  resorted  to  is 
worth  notice  where  long  exposures  are 
necessary,  and  that  is,  to  make  the  first 
part  of  the  exposure  with  a  small  stop  and 
open  up  as  the  exposure  goes  on.  Eor  in- 
stance, in  one  case  where  one  and  a  half 
hours'  exposure  was  given  the  first  half 
hour  was  given  with  the  smallest  stop,  and 
the  next  with  the  next  size  larger,  finishing 
with  nearly  an  open  lens.  This  shortens 
exposure  considerably  without  loss  of  sharp- 
ness, providing  the  smallest  stop  is  used  first. 
I  must  confess  that  in  the  whole  course 
of  my  photographic  experience,  which  now 
extends  over  twenty-five  years,  I  never 
met  with  such  difficulties  as  this  Exposi- 
tion work  has  developed.  The  construc- 
tion of  the  building  and  the  position  of  the 
exhibits  are  in  most  cases  against  us ;  for 
instance,  one  part  of  the  exhibits  will  be 
under  the  skylight  and  the   other   in   the 


shadow  under  the  gallery.  The  part  under 
the  skylight  would  probably  be  well  ex- 
posed with  from  three  to  five  minutes  ;  that 
under  the  gallery  would  require  from  thirty 
to  forty-five  minutes.  In  such  a  case  as 
this  one  or  the  other  must  suffer.  We  find 
the  best  method  to  adopt  to  overcome  this 
difficulty  is  to  give  the  longest  exposure 
required  for  the  shaded  part,  and  develop 
with  two  parts  bromide  and  pyro  solution 
and  one  part  accelerator.  But  even  then  I 
have  had  in  one  and  the  same  picture  deep 
shadow  with  very  little  detail,  and  windows 
which  have  been  reversed  by  the  prolonged 
action  of  lights  showing  as  positives  instead 
of  negatives. 

The  manner  in  which  the  buildings  are 
lighted  has  been  the  cause  of  much  trouble 
to  us ;  the  halation  from  them  spreading 
over  and,  in  some  cases,  destroying  the  de- 
tails of  the  exhibits,  and  we  have  frequently 
been  obliged  to  send  men  upon  the  roof  to 
cover  up  the  skylights,  which  would  spoil 
the  picture,  using  some  hundred  or  two 
yards  of  cloth  at  a  time  for  that  purpose. 

This  halation  appears  to  me  to  be  far 
greater  with  dry  plates  than  with  the  wet 
process,  and  it  is  really  a  great  disadvantage. 
Underexposure  greatly  exaggerates  this 
trouble,  while  overexposure  will,  in  some 
cases,  do  away  with  it  altogether,  or,  at 
least,  mitigate  it  to  such  an  extent  that  it 
will  pass  unnoticed. 

The  more  I  use  the  Morrison  lenses  the 
more  1  like  them.  There  is  one  very  great 
advantage.  The  lenses  of  different  focal 
lengths  all  fit  in  the  same  flange,  so  that  the 
operator  can  carry  two  or  three  lenses  of 
different  focal  lengths  and  use  them  all  with 
the  one  front.  But  above  all,  they  cover 
so  well,  and  with  such  fine  depths  of  focus. 
The  exhibits  are  so  close  here  that  we  are 
frequently  obliged  to  use  very  short-focus 
lenses  to  get  them  in,  so  that  we  have  been 
forced  to  use  six-inch  lenses  for  10x12 
plates,  and  get  them  well  covered,  too. 
And  lately  we  have  been  using  a  ten-inch 
focus  lens  on  the  17  x  14  camera,  and  cut- 
ting out  to  the  very  corners  of  the  plate  as 
clean  and  as  sharp  as  possible.  I  have 
never  before  seen  the  lens  that  would  do 
this,  the  time-honored  practice  being  never 
to  use  a  lens  of  less  focal  length  than  the 


140 


THE    PHILADELPHIA    PHOTOGRAPHER 


smallest  side  of  the  plate  to  be  covered. 
Thus,  a  tea-inch  lens  should  be  used  for  an 
8  x  10  picture,  or,  if  in  close  quarters,  then 
the  eight-inch  lens  might  be  used,  but  it 
was  not  expected  to  cover  well ;  but  here 
we  have  a  six-inch  lens  covering  an  8  x  10 
plate,  and  doing  it  well,  too,  and  a  ten-inch 
lens  covering  a  14  x  17  plate,  sharp  and 
clean  to  the  very  corners.  We  have  a 
Suter  lens  on  the  20  x  24  box  and  one  on  a 
10  x  12  box,  both  of  which  are  very  fine 
instruments,  and  some  fine  pictures  have 
been  taken  with  them,  both  in  and  out  of 
the  buildings.  The  ten-inch  lens  on  the 
10  x  12  box  is  used  for  making  groups  in 
the  grounds,  and  it  works  both  well,  as  re- 
gards definition,  and  quickly  on  exposure. 

The  question  has  been  asked,  Are  we 
producing  here  with  dry  plates  as  good 
work  as  was  done  at  the  Philadelphia  Cen- 
tennial with  wet?  That  is  a  very  difficult 
question  to  answer.  I  was  not  at  the  Cen- 
tennial at  Philadelphia,  but  judging  from 
the  large  books  of  views  we  have  here  1 
should  say  that  the  work  done  there  would 
be  hard  to  beat  by  any  process.  In  judg- 
ing in  such  a  case  you  would  have  to  take 
into  consideration  the  differences  in  the 
construction  of  the  two  buildings.  There 
was  a  great  deal  more  light  in  the  Phila- 
delphia building,  or  the  work  could  not 
have  been  done  at  all.  Just  think,  for  a 
moment,  what  it  means  to  give  an  Inglis 
dry  plate  over  two  hours'  exposure.  Say, 
for  sake  of  example,  these  plates  are  only 
four  times  as  quick  as  wet  plates  (and  they 
are  nearer  twenty  times),  that  would  mean 
eight  hours'  exposure  with  a  wet  plate. 
Under  these  conditions  many  exhibits  here 
it  would  be  impossible  to  take  with  a  wet 
plate.  Then,  again,  I  think  it  would  be 
impossible  to  photograph  successfully  with 
the  wet  process  those  exhibits  which  are  so 
unequally  lighted  without  getting  the  lights 
solarized.  Where  the  conditions  are  favor- 
able we  have  made  some  20  x  24  negatives, 
which  could  not  be  beaten  by  any  process, 
and  I  have  no  hesitation  in  saying  that  the 
larger  portion  of  the  work  will  bear  favor- 
able comparison  with  the  Philadelphia  Cen- 
tennial pictures. 

In  one  thing  I  think  photographers  are 
wrong  in  this  country,  and  that  is  in  the 


practice  of  printing  in  the  sun.  This  forces 
the  operator  to  thicken  the  negatives  to 
bear  sun  printing.  My  experience  in  Eng- 
land has  only  been  confirmed  by  my  prac- 
tice here,  and  that  is  that  a  thin  negative 
with  every  gradation  is  best  printed  in  the 
shade,  and  to  intensify  such  an  one  to  stand 
sun  printing  is  to  spoil  it. 

I  believe  there  is  one  thing  the  wet 
process  can  do  better  than  the  dry,  and 
that  is,  make  magic-lantern  slides ;  but  I 
have  been  using  some  special  plates  pre- 
pared by  Mr.  Carbutt,  which  come  very 
near,  indeed.  The  results  are  better  when 
made  in  the  camera  than  when  made  by 
contact  with  the  negative ;  at  least  that  is 
my  experience,  and  by  using  the  developer, 
the  formula  for  which  is  sent  with  the 
plates  (which  are  a  weak  ferrous-oxalate), 
and  clearing  with  the  sulphuric  acid  and 
alum,  a  slide  can  be  produced  of  good  color, 
with  clear  lights  and  very  delicate  grada- 
tions with  very  little  trouble. 

As  stated  in  the  April  number  of  the 
Philadelphia  Photographer,  we  have 
been  photographing  by  electric  light.  The 
picture  of  the  Music  Hall  is  most  interest- 
ing, as  it  is  a  refutation  of  the  statement 
made  by  rival  companies  that  the  Edison 
incandescent  light  is  non-actinic.  It  is  to 
the  eyes  a  redder  light  than  the  arc  light, 
but  the  exposure  proves  it  to  be  very  little 
inferior  in  actinism  to  the  arc  light.  The 
exposure  in  the  Music  Hall  was  thirty 
minutes.  The  same  exposure  was  given  in 
the  Horticultural  Hall,  which  is  lighted  by 
the  arc  light  on  the  Thompson-Houston 
plan,  the  last  being  the  best  exposed  of  the 
two. 

Mr.  Valentine  has  published  a  paper 
upon  photography  in  winter,  and  the  repro- 
duction of  landscapes  in  which  the  ground 
is  covered  with  snow.  Although  gelatino- 
bromide  plates  are  very  convenient  for  this 
kind  of  work,  on  account  of  their  great  sen- 
sitiveness, the  author  says  that  he  has  not 
yet  been  able  to  obtain  with  them  as  fine 
prints  as  those  made  with  wet  collodion. 
After  having  tried  several  kinds  of  positive 
paper,  he  adopted  the  white  albumenized 
paper  as  giving  the  best  prints  of  snow- 
scenes. 


THE   PHILADELPHIA    PHOTOGEAPHEE. 


141 


ISOCHROMATIC  PHOTOGRAPHY* 

BY    FRED.    B.    IVES. 

It  is  well  known  that  the  ordinary  pho- 
tographic processes  do  not  reproduce  colors 
in  the  true  proportion  of  their  brightness. 
Violet  and  blue,  photograph  too  light; 
green  yellow,  orange,  and  red,  too  dark. 
For  a  long  time  it  was  believed  to  be  im- 
possible to  remedy  this  defect ;  and  even 
when  it  became  known  that  bromide  of  sil- 
ver could  be  made  more  sensitive  to  yellow 
and  red  by  staining  it  with  certain  dyes, 
the  subject  received  very  little  attention, 
because  it  was  also  known  that  the  increase 
of  sensitiveness  was  too  slight  to  be  of  prac- 
tical value  in  commercial  photography. 

Dr.  H.  W.  Vogel,  who  was  one  of  the 
first,  though  not  the  first,  to  devote  atten- 
tion to  this  subject,  announced,  in  1873, 
that  he. had  succeeded  in  making  a  yellow 
object  photograph  lighter  than  a  blue  or 
violet  one,  by  using  a  silver-bromide  plate 
stained  with  corallin,  and  exposed  through 
a  yellow  glass.  The  plate  showed  no  in- 
creased sensitiveness  to  red,  and  the  ex- 
periment, although  of  considerable  scien- 
tific interest,  did  not  indicate  a  practically 
useful  process. 

In  the  spring  of  1878 1  became  interested 
in  this  subject,  and  tried  to  discover  a 
method  of  producing  plates  which  should 
be  sensitive  to  all  colors,  and  capable  of  re- 
producing them  in  the  true  proportion  of 
their  brightness.  I  commenced  by  trying 
nearly  all  the  color  sensitizers  which  had 
already  been  suggested,  in  order  to  learn 
which  was  the  best,  and  then,  if  possible, 
why  it  was  the  best,  as  a  guide  to  future 
research.  Chlorophyl  was  the  only  thing  I 
tried  which  was  sufficiently  sensitive  to  red 
to  offer  any  encouragement  in  that  direc- 
tion;  but  the  solution  which  I  obtained 
was  weak  and  unstable,  and  far  from  being 
a  satisfactory  color  sensitizer.     Hoping  to 

*  Read  at  the  stated  meeting  of  the  Franklin 
Institute,  March  18,  1885. 

Through  the  kindness  of  Prof.  W.  H.  Wahl, 
Secretary  to  the  Franklin  Institute,  and  also 
with  the  permission  of  the  author,  we  are  per- 
mitted to  publish  this  valuable  paper  simultane- 
ously with  its  appearance  in  the  Journal  of  the 
Franklin  Institute. 


obtain  a  better  solution  with  which  to  con- 
tinue my  experiments,  I  made  extracts 
from  many  kinds  of  leaves,  and  found  that 
a  solution  from  blue  myrtle  leaves  looked 
better  and  kept  better  than  any  other,  and 
when  it  was  applied  to  the  silver  bromide 
plates  they  became  remarkably  sensitive, 
not  only  to  all  shades  of  red,  but  also  to 
orange,  yellow,  and  green.  By  placing  in 
front  of  the  lens  a  color-screen  consisting 
of  a  small  glass  tank  containing  a  weak 
solution  of  bichromate  of  potash,  to  cut  off 
part  of  the  blue  and  violet  light,  I  obtained, 
with  these  chlorophyl  plates,  the  first  pho- 
tographs in  which  all  colors  were  repro- 
duced in  the  true  proportions  of  their  bright- 
ness. But  my  chief  desire  at  that  time  was 
to  realize  a  method  of  producing  from  any 
object  in  colors  a  set  of  three  negatives,  in 
one  of  which  the  shadows  should  represent 
the  blue  of  the  original,  in  another  the 
yellow,  and  in  another  the  red,  in  such  a 
manner  that  transparent  pigment  prints 
from  these  negatives — blue,  yellow,  and 
red — would,  when  superimposed  on  a  white 
surface,  represent  not  only  the  lights  and 
shadows,  but  also  the  colors  of  the  object. 
This  had  already  been  attempted  by  others, 
who  failed  because  their  plates  were  not 
sufficiently  sensitive  to  red  and  yellow. 

Having  succeeded  perfectly  in  my  under- 
takings, I  published  my  discovery  in  1879,* 
explaining  how  to  prepare  and  use  the 
chlorophyl  plates,  in  connection  with  the 
yellow  screen,  for  the  purpose  of  securing 
correct  photographs  of  colored  objects.f 


*  Phildelphia  Photographer,  December, 
1879,  p.  365. 

f  I  intended  this  publication  to  be  a  very  full 
and  explicit  one,  and  it  was  sufficiently  so  to  be 
perfectly  understood  by  most  who  saw  it;  but 
some  may  think  I  did  not  sufficiently  emphasize 
the  importance  of  using  the  particular  kind  of 
chlorophyl  which  I  mentioned.  In  a  brief  com- 
munication to  the  editor  of  the  Photo.  News,  in 
1883,  I  described  some  experiments  with  eosine 
as  a  color  sensitizer,  and  then  called  attention 
to  the  superiority  of  blue-myrtle  chlorophyl  for 
this  purpose,  stating  that  I  had  not  been  able  to 
secure  such  results  with  any  other  kind  of  chloro- 
phyl, and  then  a  fresh  solution  from  fresh  leaves 
must  be  used  to  secure  the  greatest  possible  de- 
gree of  sensitiveness.  See  Photo.  News,  Nov. 
1883,  p.  747. 


142 


THE    PHILADELPHIA    PHOTOGKAPHEE. 


So  far  as  I  know,  nobody  tried  the  proc- 
ess. Nearly  five  years  later  Dr.  Vogel 
announced  that,  after  eleven  years  of  in- 
vestigation, he  had  at  last  realized  a  suc- 
cessful process  of  this  character,  and  that 
this  new  process  of  his  was  the  "solution 
of  a  problem  that  had  long  been  encom- 
passed with  difficulty."  This  publication 
attracted  a  great  deal  of  attention,  and  gave 
me  occasion  to  call  attention  again  to  my 
process,*  and  point  out  that  it  was  not  onlj' 
the  first  practical  solution  of  this  problem, 
but  the  only  truly  isochromatic  process  ever 
discovered.  Dr.  Vogel's  new  process  was 
not  only  no  better  in  any  respect,  but  the 
plates  were  insensitive  to  scarlet  and  ruby- 
red,  and,  therefore,  would  not  photograph 
all  colors  in  the  true  proportion  of  their 
brightness. 

My  method  consists  in  treating  ordinary 
collodio-bromide  emulsion  plates  with  blue- 
myrtle  chlorophyl  solution,  exposing  them 
through  the  yellow  screen,  and  then  de- 
veloping them  in  the  usual  manner.  The 
emulsion  which  I  have  employed  is  made 
with  an  excess  of  nitrate  of  silver,  which  is 
afterward  neutralized  by  the  addition  of 
chloride  of  cobalt ;  it  is  known  as  Newton's 
emulsion.  I  now  prepare  the  chlorophyl 
from  fresh  blue-myrtle  leaves,  by  cutting 
them  up  fine,  covering  with  pure  alcohol, 
and  heating  moderately  hot ;  the  leaves  are 
left  in  the  solution,  and  some  zinc  powder 
is  added,  which  helps  to  keep  the  chlorophyl 
from  spoiling.  I  have  a  bottle  of  this  solu- 
tion which  was  prepared  about  six  months 
ago,  and  now  appears  to  be  as  good  as  when 
first  made.f     A  glass  plate  is  flowed  with 

*  Photo.  News,  London,  September  5,  1884, 
ji.  566,  and  Year  Book  of  Photography  for  1885, 
p.  111. 

f  I  originally  recommended  chlorophyl  ex- 
tracted from  dried  leaves,  because  I  had  not  yet 
learned  how  to  preserve  the  solution  for  more 
than  a  few  weeks — and  at  some  seasons  it  would 
be  difficult,  if  not  impossible,  to  obtain  fresh 
leaves.  The  tea  organifier  which  I  recom- 
mended is  also  a  color  sensitizer,  and  when  it 
is  used  in  connection  with  the  chlorophyl  from 
dried  leaves  the  plates  are  as  sensitive  to  red  as 
can  be  Safely  prepared  and  developed  in  the 
light  of  an  ordinary  photographic  "  dark-room." 
Plates  prepared  with  chlorophyl  from  fresh  leaves 


the  emulsion,  and  as  soon  as  it  has  set  the 
chlorophyl  solution  is  applied  for  a  few 
seconds,  after  which  the  plate  is  washed  in 
pure  water  until  smooth,  when  it  is  ready 
for  exposure. 

My  color-screen  consists  of  a  small  plate- 
glass  tank,  having  a  space  of  three-sixteenths 
of  an  inch  between  the  glass,  filled  with  a 
solution  of  bichromate  of  potash  about  one 
grain  strong.  I  place  the  tank  in  front  of 
the  lens,  in  contact  with  the  lens-mount. 
The  advantage  of  this  tank  and  solution  is 
that  it  can  be  more  easily  obtained  than 
yellow  plate  glass,  and  the  color  can  be  ad- 
justed to  meet  any  requirement. 

The  plates  require  about  three  times  as 
much  exposure  through  the  yellow  screen 
as  without  it,  and  may  be  developed  with 
the  ordinary  alkaline  pyro  developer. 

In  order  to  illustrate  the  value  of  this 
process,  I  made  two  photographs  of  a 
highly  colored  chromo-lithograph,  repre- 
senting a  lady  with  a  bright  scarlet  hat  and 
purple  feather,  a  yellow-brown  cape,  and  a 
dark-blue  dress.  One,  by  the  ordinary 
process,  represents  the  blue  as  lighter  than 
the  yellow-brown,  the  bright  scarlet  hat  as 
black,  and  the  purple  feather  as  nearly 
white.  The  other,  by  the  chlorophyl  pro- 
cess, reproduces  all  colors  in  nearly  the 
true  proportion  of  their  brightness,  but 
with  a  slight  exaggeration  of  contrast  pro- 
duced purposely  by  using  a  too  strong  color 
solution  in  the  small  tank.  These  photo- 
graphs are  herewith  reproduced.  (See 
plate.) 

I  also  made  two  landscape  photographs, 
one  by  the  ordinary  process,  and  the  other 
by  the  chlorophyl  process,  exposing  them 
simultaneously.  In  the  ordinary  photo- 
do  not  require  treatment  with  the  tea  organifier 
to  secure  this  degree  of  sensitiveness.  Recently 
I  have  used  the  tea  organifier  and  some  other 
sensitizers,  in  connection  with  the  solution  from 
fresh  myrtle  leaves,  and  in  this  way  have  pro- 
duced plates  having  such  an  exalted  color  sen- 
sitiveness as  to  be  unmanageable  in  ordinary 
"  dark-room  "  light.  Possibly,  such  plates  might 
be  prepared  and  developed  in  total  darkness,  by 
the  aid  of  suitable  mechanical  contrivances,  but 
I  am  not  sure  that  they  would  work  clear  even 
then,  because  they  appear  to  be  sensitive  to 
heat  as  well  as  to  light. 


THE    PHILADELPHIA    PHOTOGRAPHER. 


143 


graph,  distant  hills  are  lost  through  over- 
exposure, yet  the  foreground  seems  under- 
exposed, and  yellow  straw  stacks  and  bright 
autumn  leaves  appear  black.  In  the  chloro- 
phyl  photograph,  the  distant  hills  are  not 
over-exposed,  nor  is  the  foreground  under- 


posed,  brought  out  all  colors  better  than  the 
eosine  plate,  and  gave  full  value  to  the 
bright  scarlet  of  the  hat,  the  detail  in  which 
was  beautifully  rendered. 

Dr.     Vogel    advanced    the    theory   that 
silver  bromide  is  insensitive  to  yellow  and 


From  Ordinary  Photograph  of  Chromo-Lithograph. 


From  Isochromatic  Photograph. 


IVES'S  PROCESS  OF  ISOCHROMATIC  PHOTOGRAPHY. 


exposed ;  the  yellow  straw-stacks  appear 
nearly  white,  and  bright  autumn  leaves 
contrast  strongly  with  the  dark  green 
about  them. 

To  test  the  relative  color-sensitiveness  of 
plain  emulsion  plates,  plates  stained  with 
eosine,  and  plates  stained  with  the  blue- 
myrtle  chlorophyl,  I  exposed  one  of  each 
kind  through  the  same  yellow  screen,  giv- 
ing each  five  minutes'  exposure,  on  the 
same  piece  of  copy,  which  was  the  chromo- 
lithograph already  described.  The  plain 
emulsion  plate  showed  only  the  high  lights 
of  the  picture,  after  prolonged  develop- 
ment. The  eosine  plate  was  under-ex- 
posed, but  brought  up  everything  fairly 
well  except  the  scarlet  hat,  which  came  up 
like  black.    The  chlorophyl  plate  was  over- 


red,  because  it  reflects  or  transmits  those 
colors ;  and  that  it  becomes  sensitive  when 
stained,  because  of  the  optical  properties  of 
the  dyes.  He  afterwards  admitted  that 
only  such  dyes  as  are  capable  of  entering 
into  chemical  combination  with  the  silver- 
bromide  proved  capable  of  increasing  its 
sensitiveness  to  color,  but  he  held  to  the 
theory  that  the  optical  properties  of  the 
compound  were  the  cause  of  its  color-sensi- 
tiveness. 

I  have  shown  that  the  color-sensitiveness 
can  be  produced  by  treatment  with  an  or- 
ganic compound  which  has  none  of  the 
optical  properties  characteristic  of  dyes ; 
and  that  chlorophyl,  which  absorbs  only 
red  light,  greatly  increases  the  sensitive- 
ness also  to  yellow  and  green.     There  is, 


144 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


therefore,  good  reason  to  doubt  if  the  color- 
sensitiveness  is  ever  due  to  the  optical 
properties  of  the  dye  or  combination. 

Attempts  have  been  made  to  produce  iso- 
chromatic  gelatine  dry  plates  which,  while 
many  times  more  sensitive  to  white  light 
than  my  chlorophyl  plates,  shall  also  show 
the  same  relative  color-sensitiveness.  Such 
plates  would  be  very  valuable  but  for  one 
fact ;  it  would  be  necessary  to  prepare  and 
develop  them  in  almost  total  darkness. 
Gelatine  bromide  dry  plates  extremely  sen- 
sitive to  yellow,  but  comparatively  insensi- 
tive to  red,  might  be  used  to  advantage  in 
portrait  and  instantaneous  photography, 
because  they  could  be  safely  prepared  and 
developed  in  red  light ;  but  when  truly 
isochromatic  photographs  are  required,  the 
time  of  exposure  must  be  regulated  to  suit 
the  degree  of  sensitiveness  to  red,  which 
cannot  safely  be  made  greater  than  I  have 
realized  with  my  chlorophyl  process. 


WALTER  B.  WOODBURY. 

One  of  the  familiar  names  in  the  history 
of  photography  is  that  of  Woodbury  ;  in  a 
work  by  a  French  writer,  Davanne,  this 
name  is  placed  next  in  rotation  to  those  of 
Talbot,  Daguerre,  and  Niepce ;  and  Mr. 
Woodbury's  most  notable  achievement  is 
the  invention  of  the  permanent  printing 
process  which  bears  bis  name.  For  a  score 
of  years,  photographic  and  other  scientific 
literature,  also  the  records  of  the  Patent 
Office,  bear  witness  to  the  wide  range  of  his 
knowledge,  and  to  the  ingenious  activity  of 
his  inventive  powers. 

It  is  doubtful,  indeed,  if  the  inventive 
faculty  has  not  been  too  powerful  for  his 
material  interest,  impelling  him  on  new 
lines  of  research  before  garnering  a  harvest 
from  seed  earlier  sown.  Photographic  in- 
ventors have  rarely  won  any  conspicuous 
reward ;  the  field  open  to  them  scarcely 
admits  of  great  financial  success.  Such  a 
complete  invention  as  the  Woodburytype, 
for  example,  became  practical  only  through 
a  long  series  of  experiments,  by  which  each 
stage  of  operations  is  perfected  ;  the  labor 
employed  must  be  trained  to  manipulative 
skill,  and  half  the  term  of  a  patent  may 
expire  before  success  is  sufficiently  assured 


to  attract  capital,  by  which  the  process  may 
be  developed  into  a  profitable  industry. 

The  subject  of  notice  has  had  his  suc- 
cesses and  his  disappointments,  and  taken 
each  with  equanimity.  Recently,  however, 
his  health  became  seriously  undermined  be- 
fore its  cause  was  suspected ;  and  without 
health,  the  prosecution  of  his  business  en- 
terprises was  impossible.  The  crisis  of 
affairs  being  serious,  and  becoming  known 
to  his  friends,  the  regard,  sympathy,  and 
good  will  towards  Mr.  Woodbury  found  ex- 
pression in  the  shape  of  an  influential  com- 
mittee, determined  to  appeal  to  the  photo- 
graphic and  literary  world  for  subscriptions 
to  a  fund  which  should  afford  him  means 
and  leisure  to  recover  his  health ;  and, 
therefore,  the  opportunity  of  establishing 
his  stannotype  process,  and  completing  im- 
provements in  block-printing,  which  he  has 
begun. 

Mr.  Woodbury  was  early  attached  to 
photography,  and  at  about  the  age  of  seven- 
teen determined  to  carve  out  a  career  for 
himself,  and  started,  with  a  modest  photo- 
graphic outfit,  for  Australia,  in  1849.  Here 
he  acquired  for  himself  mastery  over  his 
materials,  and  in  a  few  years  we  hear  of 
him  in  Java,  single-handed,  improvising  a 
studio,  struggling  with  the  difficulties  inci- 
dent to  a  tropical  climate,  and  creating  quite 
a  sensation  with  excellent  portraits,  pro- 
duced, from  beginning  to  end,  with  his 
own  hands.  The  first  month,  working 
twelve  hours  a  day,  realized  a  considerable 
sum  of  money,  but  this  eventuated  in  a 
serious  illness  of  three  months.  In  1859  he 
returned  to  England  with  a  series  of  ex- 
quisite views  taken  in  the  Island  of  Java ; 
these  were  purchased  by  Eegretti  and 
Zambra. 

In  1860  Mr.  Woodbury  returned  to  Java, 
and  established  himself  in  the  capital,  Ba- 
tavia.  Those  who  remember  the  difficulties 
that  beset  the  collodion  process  five-and- 
twenty  years  ago  will  appreciate  the  obsta- 
cles to  be  overcome  in  a  hot  and  humid 
climate,  with  a  vertical  sun  in  the  midday 
hours.  For  success  a  fund  of  resource  was 
necessary,  and  Woodbury  was  equal  to  the 
task. 

Health  giving  way  under  the  climate,  he 
returned  to  Europe,  and  having  already  in 


THE   PHILADELPHIA    PHOTOGRAPHEB. 


145 


his  mind  the  genius  of  the  process  which 
hears  his  name,  he  determined  to  give  his 
faculties  free  play,  and  devote  himself  to 
invention. 

From  1864  to  1884.  Mr.  Woodbury  took 
out  no  less  than  twenty  patents,  some,  of 
course,  dealing  with  the  production  of  pho- 
tographs in  relief,  and  printing  from  metal 
intaglios ;  others  for  producing  designs  on 
wood,  paper,  metal,  cloth,  etc.  ;  and  a  series 
dealing  with  improvements  in  optical  lan- 
terns, stereoscopes,  kaleidoscopes,  barome- 
ters, hygrometers,  and  photographic  appa- 
ratus. In  the  course  of  this  period  he 
contributed  to  the  English  Mechanic  an  ex- 
haustive series  of  papers  on  the  various 
scientific  experiments  which  could  be  shown 
in  the  optical  lantern,  and  these  articles  were 
subsequently  republished  under  the  title  of 
"  Science  at  Home."  His  contributions  to 
the  Photographic  Journals  and  Year  Books 
have  been  numerous,  and  a  correspondence 
he  entered  into  with  Professor  Tyndall  was 
published  by  that  gentleman  in  the  columns 
of  Nature.  Mr.  Woodbury  also  edited, 
illustrated,  and  published  a  work  containing 
a  series  of  views  from  all  parts  of  the  world, 
entitled,  "  Pleasure  Spots  of  the  World." 

Woodbury  claims,  with  justice,  to  have 
initiated  in  Prance  the  method  of  photo- 
gravure, since  worked  to  great  perfection 
by  the  house  of  Goupil ;  his  name  is  asso- 
ciated with  improved  actinometers,  with 
balloon  photography,  with  the  process  of 
artificial  but  inimitable  water-marking  of 
paper,  called  photo-filigrane,  and  many 
more  items  of  interest  and  utility. 

Sufficient  has  been  said  to  show  his  multi- 
farious activity  of  mind,  the  variety  and 
value  of  his  contributions  to  photographic 
art,  and  his  many  years  of  scientific  service. 
The  committee  believe  that  its  action  on 
behalf  of  Mr.  Woodbury  will  meet  with  a 
prompt  and  generous  response.  Contribu- 
tions had  better  be  sent  direct  to  the  Treas- 
urer of  the  Fund,  Mr.  W.  S.  Bird,  74  New 
Oxford  Street. — The  Photographic  News. 


Wje  learn  with  great  regret  that  the  well- 
known  stockdealers  Messrs.  Smith  &  Pattison, 
of  Chicago,  have  suffered  a  total  loss,  by  fire,  of 
their  valuable  stock  of  photographic  goods. 


A  WORD  IN  DEFENCE  OF  THE 
AMATEUR* 

In  these  days  of  advanced  photography 
it  seems  strange  to  me  to  hear  the  oft-re- 
peated remark  that  "  amateur  photographers 
are  killing  the  business." 

I  would  like  to  ask  the  professional 
brethren  here  to-night  to  go  back  with  me  a 
number  of  years  to  the  days  of  Daguerre. 

I  ask  in  all  seriousness  if  it  was  not  for 
these  men  would  not  we  all — I  speak  now  to 
professional  photographers — be  working  at 
some  other  business,  had  not  these  men 
given  their  earnest  attention  and  time  to 
the  introduction  and  perfection  of  our  art  as 
understood  in  those  days  ?  And,  again,  I 
would  ask  you  to  think  of  every  improve- 
ment that  has  taken  place  in  our  profession. 
Has  not  the  amateur  been  in  the  first  rank, 
both  as  inventor  and  improver?  Just  here 
I  would  mention  our  own  members,  East- 
man, Mawdsley,  Porbes,  and  Walker. 

When  the  card  photograph  had  about  run 
its  race,  did  not  Adam  Salomon,  a  sculptor 
and  artist,  and  at  one  time  an  amateur  pho- 
tographer, give  a  fresh  impetus  to  photog- 
raphy by  introducing  retouching  and  adding 
art  principles  to  photography  ? 

The  process  now  so  generally  in  use  which 
we  call  instantaneous  or  dry  plate  photog- 
raphy, do  we  not  owe  almost  entirely  to  the 
amateur  ? 

And  if  we  skp  to  think  for  a  minute 
what  right  have  we  to  suppose  or  expect 
these  new  processes  and  improvements  by 
amateurs  were  only  intended  or  ought 
only  to  be  for  our  advantage  and  pecuniary 
benefit. 

Then  I  dispute  the  saying  that  amateurs 
are  ruining'  our  business,  rather  are  they  a 
direct  benefit  to  the  painstaking  photogra- 
pher. Por  years  the  cry  has  gone  up  from 
amongst  professional  photographers  "  that 
the  public  are  not  judges  of  good  photo- 
graphs " — that  if  the  people  were  only  able 
to  discriminate  between  good  and  bad  pho- 
tography, then  the  millenium,  so  far  as 
photographers  were  concerned,  would  indeed 
be  at  hand. 

*  A  paper  read  before  the  Rochester  Society 
of  Photographers  by  Mr.  S.  D.  Wardlaw,  Presi- 
dent, March  9,  1885. 


10 


146 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


Now  there  is  no  better  way  to  instruct  the 
public,  in  regard  to  our  art,  than  to  have 
them  try  it  themselves. 

When  they  are  able  to  make  and  appre- 
ciate a  good  piece  of  work  of  their  own 
production,  the  more  liable  and  willing  will 
they  be  to  give  professional  photographers 
the  credit  due  when  they  produce  a  cred- 
itable work. 

If  the  indifferent,  careless,  or  cheap  pho- 
tographs, get  crowded  out  by  the  superior 
ones  produced  by  the  painstaking,  careful, 
educated,  and  artistic  amateur,  so  much  the 
better  for  photography  say  I,  and  I  for  one 
will  always  cheerfully,  and  to  the  extent  of 
my  little  ability,  help  the  amateur  in  his 
attempt  to  master  the  difficulties  which  at 
first  beset  his  path,  and  in  so  doing  I  will 
only  be  in  a  slight  measure  repaying  to 
amateurs  the  many  and  great  obligations  I 
have  received  from  them  both  oral  and 
written. 

The  "  killing  of  the  business  "  comes  not, 
in  my  way  of  thinking,  from  competition 
with  the  amateur,  but  from  amongst  the 
body  of  professional  photographers  them- 
selves. From  the  grasping  and  envious 
nature  of  a  few  (a  few  as  compared  with  the 
number  of  photographers)  whose  tactics  in 
the  past  have  been  to  work  for  lower  prices 
than  their  more  careful  and  skilful  profes- 
sional brethren  could  well  afford  to  do,  and 
in  this  way  secured  to  themselves  a  share  of 
the  public  patronage  which  they  ill-deserved 
and  worse  requited.  These  are  the  ones 
who  mostly  rave  against  the  amateur,  and 
why  ?  Because  now  appears  on  the  field  a 
new  body,  well  equipped  with  apparatus, 
armed  with  brains,  talent,  ability,  a  desire 
to  achieve  and  with  a  love  for  the  work  in 
which  they  are  engaged,  and  a  hearty  con- 
tempt for  these  same  grasping  envious  pro- 
fessional gentry  and  their  productions,  who 
have  heretofore  posed  to  the  general  public 
as  artists.  And  what  is  better  still,  these 
same  talented  amateurs  can  afford  to  work 
to  their  own  ends  without  a  thought  whether 
"  the  world-renowned  photo. -artist,  Mr. 
Muddle,  makes  twenty-four  cabinets  and  a 
panel  thrown  in  for  twenty-five  cents  or  not, ' ' 
Aye  there  is  the  rub.  These  professional 
"  cheap  Johns,"  who  vainly  rage  against 
the  amateur,  would  be  in  the  seventh  heaven 


of  contentment  if  they  could  only  afford 
(providing  always  they  had  the  ability)  to 
make  pictures  at  a  lower  rate  than  these 
same  amateurs  (that  is,  for  pleasure). 

Gentlemen  professionals,  in  conclusion,  I 
would  say,  take  the  same  pains  to  secure 
a  good  creditable  piece  of  work,  bring  to 
such  work  the  same  love  and  ambition  to 
excel  that  does  the  amateur,  and  when  you 
have  completed  your  picture  put  upon  it  the 
same  value  the  amateur  places  upon  his, 
and  my  word  for  it,  you  will  no  longer  look 
on  the  amateur  as  your  enemy  but  your 
friend. 

SOCIETY  GOSSIP. 

The  Photographic  Society  of  Phila- 
delphia.— Minutes  of  the  regular  meeting, 
held  Wednesday  evening  April  1,  1885, 
the  President,  Mr.  Joseph  W.  Bates,  in 
the  Chair. 

The  minutes  of  the  last  meeting  having 
been  approved,  the  Lantern  Committee  re- 
ported that  arrangements  had  been  made 
for  an  exhibition  at  Association  Hall,  on 
the  evening  of  April  8th. 

The  Excursion  Committee  reported  that 
they  had  in  contemplation  an  excursion  to 
take  place  in  the  latter  part  of  May.  If  a 
sufficient  number  would  take  part,  it  was 
proposed  to  go  by  private  car  over  the  New 
Tork,  Philadelphia  &  Norfolk  Kailroad, 
via  Delaware  and  the  eastern  shore  of 
Maryland,  to  Cape  Charles,  thence  to  Old 
Point  Comfort  and  Norfolk,  and  over  the 
Norfolk  and  Western  Kailroad  to  Peters- 
burg, Allegheny  Springs,  Goshen  Pass, 
Peaks  of  Otter,  etc. 

A  single-day  tug-boat  trip  to  Fort  Dela- 
ware was  also  proposed,  to  take  place  some 
time  during  April  or  May. 

The  Committee  on  Membership  reported 
the  election  as  active  members  of  Messrs. 
G.  Walter  Bates  and  Charles  M.  Taylor,  Jr. 

The  President  announced  the  death  of 
Mr.  Titian  K.  Peale,  an  honorary  member, 
and  of  Mr.  Samuel  Powell,  Jr.,  a  corre- 
sponding member  of  the  Society. 

In  relation  to  the  death  of  Mr.  Peale, 
Mr.  Corlies  offered  the  following  minute  : 

"  The  Photographic  Society  of  Philadel- 
phia  has  learned  with  sorrow  the  decease 


THE  PHILADELPHIA  PHOTOGEAPHEE. 


147 


of  Titian  E.  Peale,  an  honorary  member  of 
this  Society. 

"Mr.  Peale  was  one  of  the  earliest  ama- 
teur photographers  in  this  country,  and 
being  located  in  Washington  as  examiner 
in  the  Patent  Office,  he  was  enabled  to  use 
his  influence  in  introducing  photography 
into  several  departments  of  the  Govern- 
ment, particularly  in  the  early  expeditions 
to  the  far  West. 

"  He  was  an  active  member  of  the  first 
Photographic  Exchange  Club. 

"  His  advanced  age  prevented  him  taking 
an  active  part  of  late  years,  although  he 
always  manifested  a  warm  interest  in  every- 
thing pertaining  to  the  art." 

Mr.  Browne  offered  the  following  in  re- 
lation to  the  death  of  Mr.  Powell : 

"Mr.  Samuel  Powell,  Jr.,  formerly  of 
Philadelphia,  but  more  recently  of  New- 
port, P.  I.,  a  corresponding  member  of 
this  Society,  died  at  his  Newport  residence, 
March  5,  1885. 

"  Mr.  Powell  was  led  to  take  up  photog- 
raphy in  1856,  to  assist  him  in  matters  of 
research,  and  he  continued  to  practise  the 
art  as  an  amateur  until  his  failing  health 
forced  him  to  lay  it  aside  a  few  years  ago. 
Among  his  scientific  labors  may  be  men- 
tioned the  photographic  enlargements  of 
Diptera,  used  in  illustrating  Baron  d'Osten- 
vacker's  volume  on  that  subject. 

"  Mr.  Powell  made  the  photographs  to 
illustrate  Mr.  W.  G.  Binney's  book  on 
snails. 

"Por  many  years  Mr.  Powell  had  a  stand- 
ing order  among  the  fishermen  on  the 
coast  to  send  him  specimens  of  any  odd 
variety  of  fish  they  might  catch.  Those 
that  were  of  interest  were  carefully  ex- 
amined and  then  photographed. 

"  He  was  in  constant  correspondence  with 
Prof.  Spencer  Baird,  of  Washington,  D.  C, 
on  the  same  subject.  Mr.  Powell  also  pho- 
tographed the  fossil  remains  of  the  well- 
known  Saurian  found  in  New  Jersey,  and 
fully  described  by  Dr.  Leidy.  He  also 
assisted  Dr.  Weir  Mitchell  in  photograph- 
ing the  heads  of  snakes  with  their  poison 
fangs. 

"He  was  well  known  among  the  promi- 
nent scientific  men  of  this  country,  and  his 


death  will  be  a  cause  of  lasting  regret 
among  his  large  circle  of  friends." 

On  motion  it  was 

Resolved,  That  in  the  death  of  Mr.  Samuel 
Powell,  Jr.,  the  Photographic  Society  of 
Philadelphia  has  lost  a  member  who  con- 
tributed much  to  enhance  the  value  of  pho- 
tography in  scientific  work.  His  labors 
were  constant,  and  earned  for  him  the  repu- 
tation of  being  an  accurate  and  able  ob- 
server. 

Resolved,  That  this  minute  be  entered  on 
the  records  of  this  Society,  and  an  attested 
copy  be  sent  to  the  family  of  the  deceased. 

The  President  appointed  Messrs.  John  C. 
Browne,  Samuel  Sartain,  and  William  H. 
Bau,  a  committee  to  select  the  Presentation 
Pictures  for  1885,  in  accordance  with  the 
rules  recently  adopted. 

A  question  in  the  box  asked:  "Has  the 
portrait  lens  any  advantage  over  the  rapid 
rectilinear,  other  than  the  rapidity  for 
taking  portraits  ?" 

Mr.  Browne  stated  that  while  a  portrait 
lens  would  be  most  suitable  in  a  gallery, 
that  the  rapid  rectilinear  would  work  better 
out  of  doors,  as  with  it  the  large  volume  of 
light  could  be  better  controlled. 

Mr.  Walmsley  said  that  in  many  gal- 
leries the  rapid  rectilinear  was  used  largely, 
owing  to  its  greater  depth  of  focus,  and 
with  the  use  of  the  very  rapid  plates  now 
obtainable,  the  exposures  could  be  suffi- 
ciently short.  In  taking  children,  however, 
where  very  short  exposures,  were  necessary, 
the  portrait  lens  would  be  required. 

Mr.  S.  M.  Pox  thought  that  in  a  gallery 
where  space  was  an  object,  the  portrait  lens 
had  the  advantage  of  shorter  focus. 

Messrs.  Wilson,  Hood  &  Co.  showed  a 
number  of  interesting  articles,  among  which 
were:  A  new  low-priced  camera,  made  by 
Messrs.  E.  &  H.  T.  Anthony,  in  which  the 
folding  bed  was  held  in  position  when  in 
use  by  two  metal  clamps  instead  of  the 
usual  screw.  An  "  Eclipse  "  shutter,  made 
by  Prosch,  was  arranged  to  adjust  the 
rapidity  in  a  simple  and  effectual  manner. 
A  quarter-size  camera,  by  the  American 
Optical  Company,  was  arranged  with  a 
clamp  having  a  ball-and-socket  joint  by 
which  it  could  be  attached  to  the  steering- 
bar   of    a   bicycle.     A   Waterbury   candle 


148 


THE    PHILADELPHIA    PHOTOGRAPHER. 


lantern  for  changing  plates  was  provided 
with  a  candle  on  a  spring-socket,  the  whole 
folding  in  compact  form  for  use  while 
travelling.  "  Pyro  Pellets  "  put  up  in  bot- 
tles of  fifty  pellets,  each  containing  two 
grains  afforded  a  convenient  form  for  use 
at  home  or  abroad. 

A  sample  print  on  a  new  gelatino-brom- 
ide  paper,  prepared  by  Messrs.  E.  &  H.  T. 
Anthony,  was  also  shown.  This  paper  was 
specially  prepared  with  a  surface  suitable 
for  working  on  with  crayon,  charcoal,  or 
pastel.  Heretofore  gelatine  papers  prepared 
for  enlarging  purposes  had  been  very  diffi- 
cult to  work  on  without  roughening  the 
paper  with  some  gritty  substance.  The 
print  shown  was  a  copy  of  a  crayon  draw- 
ing, and  the  tone  was  one  admirably  suited 
for  crayon  work.  The  paper  is  prepared 
with  fine  or  coarse  "  tooth,"  as  may  be  re- 
quired, and  is  manipulated  in  the  same 
manner  as  the  gelatino-bromide  paper. 

Mr.  Walmsley  showed  an  "  Instanto- 
graph  shutter,"  in  which  the  exposure  was 
given  by  a  circular  opening  in  a  round 
plate,  which  revolved  past  the  opening  of 
the  lens.  It  was  provided  with  a  pneu- 
matic release,  and  was  of  very  compact 
form. 

A  copy  of  First  Lessons  in  Amateur  Pho- 
tography, by  Prof.  Randall  Spaulding,  was 
presented  by  Messrs.  Wilson,  Hood  &  Co. 

Forty-two  members  and  one  visitor 
present. 

Adjourned. 

Robert  S.  Redfield, 

Secretary. 

Association  of  Operative  Photogra- 
phers.—392  Bowery,  N.Y.,  March  4,  1885. 

In  the  absence  of  the  President  and  Vice- 
President,  Mr.  Schanidner  was  called  to  the 
Chair.  Minutes  of  last  meeting  read  and 
approved.  The  various  journals  were  re- 
ceived, with  thanks  of  the  Association. 

Mr.  De  Lemos  and  Mr.  Wiegand  were 
elected  to  membership. 

In  the  absence  of  Mr.  Duchochois  there 
was  no  regular  subject  for  discussion. 

Mr.  Eddowes  :  I  would  like  to  ask  if  any 
of  the  printers  present  know  the  average 
number  of  grains  of  silver  absorbed  by  a 
sheet  of  paper? 

Mr.    Harrison :    I  don't   know   how   the 


question  can   be  answered,  as  every  sheet 
floated  on  the  bath  will  make  it  weaker. 

Mr.  Mildenberger :  A  sheet  of  paper  will 
take  up  just  so  much  silver  and  no  more — 
it  don't  matter  what  strength  the  bath  is. 

Mr.  Schnaidner:  There  seems  to  be  a 
great  demand  for  good  commercial  opera- 
tors ;  can  any  one  tell  why  it  is  so? 

Mr.  Fields :  I  don't  see  why  that  can  be. 
There  is  no  trouble  in  making  mercantile 
work  if  your  bath  is  in  good  order,  and 
you  light  your  articles  right.  You  have  to 
get  good  detail,  and  sometimes  have  to  give 
very  long  exposures;  it  is  entirely  different 
from  making  portraits. 

The  Secretary  :  I  have  to  differ  from  our 
worthy  member,  as  I  think  it  is  sometimes 
very  difficult  to  make  good  negatives  of 
mercantile  work.  For  instance,  in  silver- 
ware the  fine  engraving  and  line  have  to 
show,  and  on  a  polished  surface  and  strong 
light  it  is  very  difficult  to  procure  a  good 
negative.  We  have  used  powder  to  dull 
the  articles,  and  also  used  putty  for  the 
same  purpose  It  makes  a  dull  surface  by 
just   patting  the  article  with  it. 

A  Member :  Sometimes  an  operator  has 
to  go  out  to  make  a  negative  of  bronze 
work  or  silverware.  There  are  some  firms 
that  will  not  allow  the  articles  that  are  to 
be  photographed  to  be  taken  away,  and  the 
negatives  have  to  be  taken  in  a  bad  light. 
Men  who  have  worked  under  the  light  at 
portraits  will  find  a  great  difference 

A  Member :  It  is  said  that  some  work 
requires  a  long  exposure — suppose  that  you 
had  to  photograph  anything  that  moved  in 
the  least  draught,  what  would  you  do  in 
such  a  case  ? 

A  Member :  1  have  had  to  photograph 
gas  fixtures  that  had  swinging  ornamental 
fixtures  ;  the  street  car  passing  the  building 
would  cause  them  to  move,  and  it  was  im- 
possible to  get  more  than  a  blurred  mass. 
In  answer  to  a  question,  he  said  he  would 
rather  make  mercantile  work  with  wet 
plates.  Yours  respectfully, 

T.  W.  Power, 

Secretary. 

March  18,  1885.  President  Buehler  in 
the  Chair. 

Secretary  Powers  being  absent  on  account 


THE  PHILADELPHIA  PHOTOGRAPHER. 


149 


of  sickness,  Mr.  Eddowes  was  made  Secre- 
tary jwo  tern.  Owing  to  the  absence  of  the 
minute  book,  the  minutes  of  the  previous 
meeting  could  not  be  read. 

Messrs.  Schimmer  and  Stoltz  were  elected 
to  membership. 

Keports  of  the  Librarian,  Board  of  Trus- 
tees, and  Financial  Secretary  were  read  and 
accepted. 

The  nomination  and  election  of  officers 
for'  the  ensuing  year  was  next  taken  up, 
and  the  various  offices  were  filled  as  follows  : 

President. — T.  W.  Power. 
Vice-President. — T.  C.  Eoach. 
Secretary. — W.  Eddowes. 
Financial  Secretary. — W.  F.  Smith. 
Treasurer. — C.  Schnaidner. 

It  was  moved  and  carried  that  a  vote  of 
thanks  be  given  to  ihe  old  and  new  board 
of  officers. 

Mr.  Eoach  was  made  Master  of  Cere- 
monies for  the  evening  and  the  meeting- 
was  adjourned,  but  the  clink  of  the  social 
glass  and  the  melody  of  the  jolly  song  were 
heard  far  into  the  morning  hours. 

The  Philadelphia  Photographer  and 
various  other  journals  were  received,  with 
thanks  of  the  Association. 

Secretary's  address  770  Broadway,  New 
York.  Yours  respectfully, 

W.  Eddowes, 

Secretary. 

Philadelphia  Amateur  Photographic 
Club. —  Meeting  called  to  order  with  H. 
Pusey  in  the  Chair. 

The  following  officers  were  elected  for  the 
ensuing  year : 

President. — H.  Pusey. 

Vice-President. — Wm.  G.  Haines. 

Treasurer. — Alfred  Thompson. 

Secretary. — W.  W.  Kandall. 

The  Secretary  read  a  communication  from 
the  London  Stereoscopic  Co.,  stating  that 
an  exhibition  under  their  auspices,  free  to 
all  amateurs,  was  to  be  held  in  London 
during  next  month,  and  invited  members  of 
his  Club  to  exhibit.  Referred  to  Execu- 
tive Committee. 

The  Treasurer  read  his  report  which 
showed  the  finances  of  the  Society  to  be  in 
a  most  flourishing  condition.     The  Society 


has  been  in  existence  but  one  year,  and  has 
done  remarkably  well ;  many  interesting 
papers  have  been  read  and  numerous  demon- 
strations given  by  practical  hands.  New 
members  are  constantly  being  added  to  the 
list,  and  altogether  the  outlook  for  the  future 
is  very  bright. 

The  meeting  then  adjourned  to  attend  the 
lantern  exhibition  which  takes  place  every 
meeting  night,  and  forms  quite  a  feature  of 
the  Club. 


A  FEW  HINTS  ON  DEVELOPERS. 

At  a  recent  meeting  of  the  Rochester 
Photographic  Association  Mr.  John  E. 
Dumont,  one  of  its  most  talented  amateurs, 
presented  a  paper  on  dry-plate  developers 
which  is  worthy  of  publication.  It  was 
entitled  "A  Few  Hints  on  the  Developer," 
and  read  as  follows  : 

A  short  time  since  I  visited  the  room's 
of  the  Societ}7  of  Amateur  Photographers 
of  New  York,  and  while  there  was  shown 
into  the  dark-room,  where  the  committee 
were  testing  the  plates  of  all  the  different 
makers,  and  I  saw  long  shelves  filled  with 
bottles.  On  examination  I  found  there 
were  two  bottles  for  every  brand  of  plates. 
An  idea  struck  me.  Is  it  necessary  to  have 
so  many  lots  of  developers  ?     I  say  no. 

I  have  frequently  had  different  persons 
come  to  me  and  ask,  "  Will  this  or  that  de- 
veloper work  on  this  or  that  plate  ?"  and 
then  there  are  others  who  do  not  stop  to 
think  whether  the  developer  will  work  well 
or  not,  but  use  one  developer  for  them  all, 
and  if  it  does  fail  to  bring  good  results  on 
some  particular  maker's  plates,  they  con- 
demn the  plates  and  damn  the  maker,  and 
never  stop  to  think  that  it  is  the  developer 
or  themselves  that  is  to  blame. 

The  maker  of  plates  knows  what  pro- 
portions of  silver,  bromides,  etc.,  that  he 
puts  into  a  plate,  and  he  knows  what  pro- 
portions of  pyro,  etc.,  are  required  to  de- 
velop those  plates.  There  are  some  plates 
that  will  develop  with  half  a  grain  of  pyro, 
while  others  require  as  many  as  five  or  six 
grains. 

Now,  to  those  who  desire  to  produce  the 
finest  results  I  would  recommend  that  they 
always  use  the  formula  that  the  maker  fur- 


150 


THE    PHILADELPHIA    PHOTOGRAPHER. 


nishes.  Some  of  you  will  say,  "  I  am  con- 
stantly changing  plates,"  or  "  I  use  one 
brand  of  plates  for  a  certain  class  of  work, 
and  another  brand  for  a  different  class,  and 
cannot  keep  so  many  developers."  To  those 
persons,  what  I  have  to  say  applies. 

The  iron  developer  has  gone  out  of  use 
excepting  for  lantern  slides  and  transparen- 
cies, so  I  will  confine  myself  to  the  devel- 
opers now  generally  recommended  by  most 
dry-plate  makers.  Pyro  made  alkaline  by 
a  greater  or  less  quantity  of  ammonia, 
carbonate  of  potash,  or  washing  soda,  re- 
strained with  more  or  less  bromide  of  am- 
monium or  potassium.  Citric  acid,  and  sul- 
phite of  sodium  do  not  aid  development 
only  in  so  far  as  they  preserve  the  pyro. 
Citric  acid  prevents  decomposition  of  the 
pyro,  and  should  in  all  cases  be  dissolved 
before  adding  to  the  pyro,  as  I  find  it  has 
no  effect  unless  it  is  dissolved  first.  Sul- 
phite of  soda  prevents  oxidation  of  the  pyro, 
and  is  of  but  little  benefit  in  a  pyro-am- 
monia  developer,  but  where  potash  or  soda 
is  used  it  is  absolutely  necessary,  as  it  pre- 
vents the  staining  of  the  gelatine  film,  as  in 
cases  of  prolonged  development  the  film 
would  become  so  stained  as  to  be  non-actinic 
without  its  use. 

I  would  recommend  to  those  who  are 
using  different  brands  of  plates  to  make 
sixty-four  grain  solutions  in  separate  bottles 
of  pyro,  stronger  water  ammonia,  carbonate 
of  potash,  and  bromide  of  ammonium  or 
potassium,  always  adding  sixty  grains  of 
citric  acid  and  four  ounces  of  sulphite  of 
soda  to  each  ounce  of  pyro. 

Now,  each  ounce  of  developer  recom- 
mended by  the  following  makers  contains 
the  quantities  of  pyro,  ammonia,  or  potash 
and  bromide  set  opposite  their  names.  I 
have  only  figured  out  a  few  of  the  Roches- 
ter makers,  as  that  is  sufficient  to  illustrate  : 

Pyro.     Ammonium.    Bromide.    Potash. 
Eastman,      If  gr.       1$  min.         £  gr. 
Forbes,  1£  "         1£     "  \  " 

Inglis,  2i  "  TV  "        65  gr. 

Monroe,        3§  "         3J     "  1     " 

Mawdsley,   2     "         3       "  1     " 

Mawdsley,  1\  "  i  "        5    gr. 

Make  up  to  4  ounces. 

To  use  the  Mawdsley  plate  I  take  of  pyro 
1  drachm,  ammonia  1£  drachm,  and  bro- 


mide \  drachm,  adding  water  to  make  up 
to  4  ounces.  Or  if  I  want  the  potash  I  take 
pyro  \\  drachm,  potash  1\  drachms,  bro- 
mide 7  minims,  adding  water  to  make  up  to 
4  ounces. 

I  recommend  64-grain  solution,  as  it  is 
simpler  to  work.  Each  drachm  contains  8 
grains.  I  think  all  makers  should  give  the 
strength  per  ounce  of  their  developers. 

To  amateurs  who  use  but  small  quantities 
of  developer,  I  would  advise  that  they  mix 
no  more  of  the  pyro  solution  than  will  last 
them  ten  days,  as  my  experience  is  that 
where  sulphite  of  soda  is  used  it  causes  the 
pyro  to  decompose  much  more  rapidly  than 
where  citric  acid  alone  is  used.  I  recently 
condemned  a  lot  of  plates  because  of  their 
slow  development,  but  later  on  tried  the 
same  emulsion  with  a  fresher  pyro  mixture, 
and  they  flashed  up  quickly,  and  what  I 
had  called  a  very  slow  plate  with  an  old 
developer  was  a  very  rapid  one  with  a  fresh 
developer.  I  have  since  used  my  old  pyro 
solutions  as  a  retarder  in  cases  of  over- 
exposure, and  find  it  is  better  for  that  pur- 
pose than  bromides. 

In  closing,  I  would  say,  always  use  the 
developer  that  the  maker  recommends. 
Always  keep  your  solutions  fresh  and  trays 
clean,  and  never  condemn  a  plate  until  you 
arc  sure  the  plate,  and  not  yourself,  is  at 
fault. 


SOME  OF  THE  BEAUTIES  OF  DRY- 
PLATE  WORKING. 

BY   THOMAS   PRAY,  JR. 

Let  it  be  understood  at  the  outset  that 
the  writer  is  not  a  professional  photogra- 
pher, and  whatever  his  accomplishments 
may  have  been  in  the  line  of  photography, 
they  are  all  classed  as  "  immature  "  by  our 
jocular  friends  of  the  professional  branch  of 
the  art.  This  article  is  not  written  critically 
in  any  sense,  except  for  the  purpose  of 
eliciting  information.  In  the  editorial 
sense  of  the  word,  we  have  looked  with 
much  interest  for  something  to  be  done 
somewhere,  by  some  one,  and  yet  nothing 
has  been  done,  to  eliminate  the  difficulties 
which  attended  the  amateur,  from  the  con- 
tinual changing  of  the  character  of  the 
emulsion,  in  some  respects',  by  the  dry-plate 


THE  PHILADELPHIA  PHOTOGBAPHEE. 


151 


maker.  All  of  us,  either  professional  or 
"immature,"  know  full  well  that  we  are 
treated  every  week  to  a  brand  new  lot  of 
developers  which  combine  a  great  deal  of 
ignorance  as  well  as  a  great  variety  of 
chemical  combinations,  if  we  are  to  read 
as  the  formulae  are  written  or  printed.  But 
if  we  read  analytically,  we  find  that,  prac- 
tically, all  this  variety  of  formulas  come 
down  to  one  point,  they  either  use  pyro 
dry  at  the  instant  of  using,  or  if  they  use 
it  in  solution,  it  must  be  made  as  used, 
and  with  some  half  dozen  (more  or  less) 
chemicals,  for  the  purpose,  as  it  is  said, 
of  eliminating  something,  or  of  prevent- 
ing something,  or  of  accomplishing  some- 
thing. They  then  use  soda,  potash,  or 
ammonia,  and  it  will  be  a  waste  of  time  to 
refer  any  further  to  the  developers  other 
than  to  say  that  each  platemaker  has 
seemed  to  make  discoveries  of  a  great  va- 
riety of  developing  formulas,  which  when 
reduced  to  a  working  practice  simply 
amount  to  changing  the  proportions  slightly, 
or,  if  anything,  adding  a  lot  of  incongruous 
or  incompatible  elements,  which  only  serve 
to  vex  the  amateur  and  perplex  the  pro- 
fessional. 

But  it  is  not  our  purpose  to  deal  with  de- 
velopers, and  it  may  be  said,  as  the  only 
further  reference  to  them,  that  during  the 
past  three  and  a  half  years  we  have  re- 
corded the  results  of  over  one  hundred  dif- 
ferent developer  formulas,  on  three  different 
brands  of  plates,  only  to  find  in  the  end  that 
a  single  developer,  divested  of  all  non- 
sense, would  give  more  perfect  results  and 
better  control  of  exposure  than  any  of  the 
other  score  of  formulas.  But  these  are 
questions  which  are  constantly  occurring, 
and  the  amateur  has  been  taught  practi- 
cally to  look  to  his  developer,  and  if  any- 
thing went  wrong  with  him,  his  exposures, 
the  pyro  must  have  been  wrong,  or  there 
must  have  been  too  much  acid,  or  too  much 
something  else,  but  it  has  never  been  that 
the  platemaker  is  continually  changing  and 
experimenting  on  the  amateur  by  giving 
one  sensitiveness  at  one  time,  a  different 
one  at  another,  more  or  less  emulsion  on 
the  plate  the  next  time,  then  some  fancy 
way  of  packing  the  plates. 

Our  own   experience   with   these    plates 


commenced,  practically,  in  1880,  in  a  lim- 
ited way  for  a  scientific  purpose.  It  is, 
perhaps,  needless  to  say  that  the  first  six 
months'  experience  found  us  with  some  two 
or  three  gross  of  several  different  brands  of 
plates,  all  packed  away  in  a  large  soap  box, 
after  having  been  stripped  with  hot  water 
and  carbonate  of  soda ;  but  there  had  been 
some  information  acquired.  In  1881,  our 
first  venture  in  any  amount  of  plates  was 
made.  One  gross  of  half  plates,  4J  x  5i, 
from  two  different  makers  was  purchased. 
There  was  a  difference  in  the  sensitiveness 
of  the  emulsion  by  the  different  makers. 
Some  of  these  plates  are  now  in  our  own 
possession,  and  are  the  basis  of  the  com- 
plaint in  this  article,  and  as  reference  is 
made  to  the  standard  plate,  let  it  be  under- 
stood that  it  means,  to  this  old  emulsion  on 
a  lot  of  plates  with  which  every  other  lot  of 
of  plates  has  been  compared,  by  some  of  the 
six  or  eight  developers  which  have  been 
used  in  all  these  experiments.  In  1882, 
three  gross  of  5  x  8  and  8  x  10  were  pur- 
chased. Some  of  each  of  these  lots  are  still 
on  hand,  and  comparison  has  also  been 
made  as  with  them  and  later  purchases 
from  the  very  same  makers.  After  the 
right  exposure  was  found,  either  for  outside 
work  or  for  the  scientific  work  (in  which 
line  our  investigations  were  directed),  the 
developers  were  then  kept  in  solution  for 
not  to  exceed  three  weeks,  the  same  for- 
mulas exactly  have  been  used  as  standard 
developer,  and  the  six  formulas  which  were 
selected  have  been  reduced  practically  to 
two.  During  this  time  something  like 
3000  different  negatives  have  been  accu- 
mulated, some  of  which  have  won  very 
warm  compliments  from  professional  friends, 
and  have  found  places  in  their  collections, 
while  others  are  retained  as  mementoes  of 
our  own  failures  either  in  exposure  or  at- 
tempting to  develop  a  plate  which  was  im- 
perfectly made  or  imperfectly  coated. 

We  find  a  growing  sentiment  among  dry- 
plate  users  (but  which  we  have  never  seen 
as  yet  expressed  in  any  of  our  photographic 
journals),  to  begin  to  inquire  into  the  causes 
of  why,  with  the  platemakers'  production 
at  one  time  we  get  very  good  results  and  at 
another  time  it  is  impossible  to  develop  so 
as  to  make  a  print  of  ordinary  merit.     The 


152 


THE    PHILADELPHIA    PHOTOGEAPHE  R. 


lenses  which  have  heen  a  part  of  our  out- 
fit have  been  Voigtlander's,  Ross's,  and 
Dalmeyer's,  although,  in  some  instances, 
plates  have  heen  exposed  with  cheaper 
lenses  for  the  purpose  of  carrying  the  in- 
vestigation into  lenses  as  well  as  plates. 
The  standard  exposure  has  heen  one  of  the 
most  beautiful  of  Eoss's  portable,  symmet- 
rical lenses,  used  on  a  5x8  plate,  and  one 
of  the  same  lenses,  slightly  longer  focus,  on 
an  8x10  plate,  and  a  Dalrneyer,  new 
system,  wide  angle,  rectilinear.  These 
three  lenses  practically  cover  the  whole 
period  of  investigation.  The  original  emul- 
sion, which  will  be  termed  standard,  gives, 
on  a  5  x  8  plate,  with  its  regular  proportions 
and  an  exposure  of  ten  to  twelve  seconds, 
in  good  sunlight,  a  clear,  crisp  negative,  in 
which  the  sky  would  acquire  sufficient  den- 
sity so  that  when  the  print  was  properly 
made,  and  fully  toned  and  cleared,  it  did 
not  look  like  a  coming  thunder-storm,  and 
all  the  detail  was  beautiful.  One  of  the 
plates  was  four  boys  behind  a  snow-bank, 
in  which  the  foundation  of  a  house  and  a 
part  of  the  first  story  of  two  houses  are 
shown  ;  the  sky  beyond  and  between  the 
houses  is  of  sufficient  density  to  shut  out 
any  coloring  of  the  paper  in  a  deep  print. 
This  is  from  the  standard  emulsion,  and 
may  be  pronounced  as  about  correct.  The 
next  subject  is  a  sunny  exposure  in  South 
Carolina,  with  beautiful  detail,  from  another 
emulsion  supposed  to  be  the  same,  which  has 
two  grievous  difficulties  ;  the  sky  has  the 
appearance  of  an  immediately  approaching 
thunder  shower  ;  one  side  of  the  plate  has 
density  sufficient  so  that  the  line  of  contour 
of  the  hill  beyond  us  is  plainly  discernible  ; 
on  the  other  end  of  the  plate  there  is  ex- 
ceedingly little  difference  between  the  den- 
sity of  the  real  estate  and  sky  ;  while  on  a 
4x5  print  there  are  about  a  thousand  white 
spots,  which  do  not  add  to  the  pleasure  of 
the  artist.  If  we  take  another,  we  have  a 
street  scene  in  New  Orleans,  showing  the 
river  of  filth  along  the  sides  of  the  street,  a 
group  of  boys  in  the  foreground  on  the 
bank,  the  street  all  cut  up  in  ridges,  all  of 
which  is  in  beautiful  detail,  and  the  reflec- 
tion of  the  sky  and  the  trees  is  plainly  seen 
in  the  gutter  on  the  side  of  the  street.  So 
far   everything   is   brought   out  elegantly, 


but  the  sky  beyond  has  all  the  appearance 
of  having  had  a  dirty  sponge  passed  over 
the  print  before  it  was  burnished.  How  is 
it  possible,  then,  if  the  emulsion  is  properly 
arranged,  and  the  exposure  is  such  that  the 
fine  details  are  exquisitely  pleasing  on  one 
side  of  the  plate,  and  the  other  side,  only 
so  far  as  the  sky  appears,  is  a  piece  of  botch- 
work  ?  And  these  are  only  a  few  of  the 
instances  which  have  occurred. 

We  now  return  to  the  first  subject  of  the 
same  house  where  the  boys  were  playing  in 
their  snow  fort.  With  a  new  emulsion, 
giving  the  same  exposure,  with  the  same 
lens,  developing  with  a  new  solution  of 
pyro,  we  get  beautiful  detail  in  the  ground, 
the  underpinning  the  shadows,  one  side  of 
the  plate  has  sufficient  density  and  the 
other  side  has  the  approaching  thunder- 
shower  accompaniment,  making  a  complete 
botch.  All  the  plates  developed  in  same 
place  and  water. 

There  seems  to  be  an  effort  on  the  part  of 
platemakers  in  several  different  makes  of 
plates  (they  have  been  so  careful  to  make  a 
portrait  plate  for  landscape  work),  to  put  the 
least  possible  amount  of  emulsion  on  the 
plate,  and  to  work  for  softness  more  than 
detail,  which  is  precisely  what  we  feel  the 
amateurs  will  eventually  kick  about.  It 
may  be  all  very  well  to  make  a  plate  which 
will  be  very  soft  in  its  detail  and  gradation, 
but  in  our  own  experience  we  cannot  afford 
to  spend  a  couple  of  weeks  after  returning 
from  a  business  or  pleasure  trip  with,  as  in 
our  last  venture,  nearly  a  gross  of  5  x  8s, 
some  with  one  and  others  with  two  expo- 
,  sures  on  the  plate,  to  develop  them  one  by 
one,  and  then  spend  the  rest  of  the  fortnight 
in  painting  out  the  sky,  so  as  to  get  an  ap- 
proximate picture  or  print. 

During  the  time  of  this  experience  the 
advice  of  the  platemaker  has  been  sought 
in  many  instances,  and  in  one  case  the 
trouble  with  the  bad  development  was  the 
use  of  too  much  oxalic  acid.  To  satisfy  our- 
selves upon  this  point,  we  put  half  an  ounce 
of  oxalic  acid  into  four  ounces  of  water,  and 
after  this  was  dissolved,  or  all  that  would 
dissolve,  it  was  filtered,  and  half  an  ounce 
of  pyro  put  into  it;  some  of  the  very  same 
emulsion  of  plates  was  then  developed  with 
this  excessive  amount  of  oxalic  acid,  and 


THE  PHILADELPHIA  PHOTOGRAPHER. 


153 


the  negatives  vouch  for  themselves  that 
they  are  beautiful  in  perfection,  and  some 
of  the  prints  from  this  excessive  oxalic  acid 
developer  were  pronounced  by  the  plate- 
maker  as  positively,  charming.  He  was 
not,  however,  informed  what  made  them  so 
charming.  In  another  case,  while  enjoying 
a  brief  hcliday  with  one  of  the  finest  pro- 
fessional photographers  in  this  country,  and 
a  man  of  national  reputation,  we  were  using 
some  very  quick  plates,  and  after  the  expo- 
sures were  made,  and  we  had  returned 
home,  we  were  cbeered  by  our  own  help- 
lessness in  seeing  a  larger  portion  of  the 
gelatine  float  off  the  plate  during  develop- 
ment, and  our  subsequent  experience  with 
other  exposures  from  the  same  batch  proved 
that  there  was  no  substrata  on  the  glass, 
and  the  writer  has  a  most  amusingly  spotted 
night-shirt  (silver  spots  of  black)  as  a  me- 
mento of  sitting  up  all  night  with  two  of 
these  plates,  trying  to  preserve  something 
upon  them.  A  week  or  two  afterwards,  for 
it  was  warm  weather,  we  heard  from  our 
professional  friend,  whose  experience  had 
been  exactly  similar  to  ours,  and  he  had 
given  the  platemaker  particular  fits.  But 
these  are  only  some  of  the  pleasures  of  using 
dry  plates. 

Not  many  months  ago,  while  residing  in 
Boston,  one  of  our  amateur  friends  came 
over  one  evening  with  several  plates  which 
had  been  exposed,  and  two  of  which  had 
been  developed  ;  they  were  simply  black  as 
black  could  be  from  overexposure.  Upon 
asking  what  the  plates  were,  we  were  told 
they  were  a  plate  requiring,  with  the  lens 
our  friend  was  using,  about  eight  or  ten 
seconds  for  a  landscape  with  the  sun  ;  the 
plates  were  8  x  10,  the  views  were  valuable. 
We  suspected  there  might  have  been  one 
of  those  peculiar  mistakes  to  which  dry- 
plate  makers  are  subject,  so  we  commenced 
the  development  of  one  of  his  plates  by 
putting  a  drachm  of  a  fifty  grain  solution 
of  bromide  of  ammonium  into  the  devel- 
oper with  about  double  the  amount  of  pyro 
and  from  a  quarter  to  a  third  the  amount  of 
soda;  after  watching  several  minutes  the 
plate  began  to  develop,  and  every  one  of 
his  plates  were  developed  into  beautiful 
negatives.  Upon  returning  next  day  to 
his  box  of  slow  plates,  we  put  one  of  them 


before  a  Dalmeyer  wide  angle,  rectilinear, 
with  a  drop  shutter,  and  developed  in  the 
regular  way  for  one  of  the  highest  speed 
plates.  The  whole  secret  lay  in  the  fact 
that  the  platemaker  had  marked  a  very 
rapid  plate  with  a  slow  emulsion,  and  our 
friend  not  suspecting  it,  supposed,  as  he 
had  been  so  often  told,  that  the  trouble  was 
all  in  the  developer.  In  another  case,  when 
doing  some  photo. -micro,  work  with  some 
beautiful  specimens  most  elegantly  mounted, 
we  found  trouble  in  securing  density,  so  that 
the  object  itself  could  be  brought  out.  The 
object  was  wanted  upon  a  white  or  light- 
colored  background  rather  than  upon  the 
thunder-shower  background  ;  it  was  abso- 
lutely impossible  to  secure  the  result  with 
proper  exposure;  no  modification  of  the 
developer  would  allow  it.  Upon  consulting 
the  platemaker,  and  sending  some  plates, 
we  were  told  to  use  less  retarder.  Throw- 
ing the  plates  one  side,  we  secured  another 
emulsion  with  quite  a  difference  in  the 
numbers,  exposed  just  as  we  had  been  doing, 
developed  from  the  very  same  pyro  and 
acid  solution,  and  secured  negatives  which 
have  been  admired  by  every  one  of  the  very 
few  who  have  ever  seen  them. 

How,  then,  is  the  amateur  to  protect  him- 
self, or  how  is  he  to  secure  any  sort  of  an 
average  for  his  hard  work,  and,  in  many 
cases,  expensive  work  as  well,  with  no  pos- 
sibility, perhaps,  of  going  over  the  ground 
again  for  months  ?  Lately,  we  were  quietly 
told  the  price  of  our  plates  had  been  re- 
duced. We  do  not  make  any  change  or 
take  back  any  plates.  In  other  words,  that 
because  the  supply  has  exceeded  the  de- 
mand, or  some  other  reason,  we  have  re- 
duced the  price  of  our  plates;  we  do  not 
any  longer  guarantee  them,  and  they  are 
subject  to  all  sorts  of  variations,  possibly, 
without  any  recourse.  A  great  deal  more 
might  be  said  on  this  subject.  We  have 
never  seen  the  matter  put  in  this  light  by 
anyone,  and  should  be  glad  to  hear  from 
those  who  are  using  dry  plates,  to  know 
whether  our  own  trouble  has  been  all  im- 
agination, or  whether  they,  like  ourselves, 
have  kept  any  track  or  record  to  which 
they  can  refer  positively.  We  hear  all 
sorts  of  stories  hbout  exposure  and  develop- 
ment; we  have  satisfied  ourselves,  to  our 


154 


THE    PHILADELPHIA    PHOTOGRAPHER. 


sorrow  and  expense,  that  the  developer  will 
not  make  the  plate,  provided  the  exposure 
has  been  correct,  if  the  plate  is  as  full  of 
vagaries  as  some  of  our  makers  seem  to  be 
with  respect  to  this  everlasting  and  annoy- 
ing question,  the  developer.  A  good  plate 
is  needed,  and  we  believe  the  amateurs  of 
the  country,  those  who  have  not  the  drop- 
shutter  craze,  or  who  want  something  be- 
sides the  approaching  thunder  storm,  or  a 
blur,  would  not  care  so  much  what  the 
prices  of  plates  were,  if  they  could  buy 
from  two  different  lots  of  emulsion  with 
any  certainty  of  receiving  some  sort  of  an 
approximation  to  the  same  sensitiveness,  to 
the  same  general  chemical  properties,  so  as 
to  secure  an  approximation  to  a  clean,  well- 
finished  print,  without  being  continually 
annoyed  by  having  their  developer  found 
fault  with  and  changing  it  every  two  or 
three  weeks,  at  the  pleasure  of  the  plate- 
makers,  some  of  whom,  we  believe,  are  ex- 
perimenting on  the  credulity  and  patience 
of  the  amateurs.  At  least,  such  would 
seem  to  be  the  case,  for  we  know  that  the 
troubles  we  have  ourselves  encountered  are 
vexing  amateurs  everywhere.  What  say 
our  professional  brethren?  We  know  some 
of  them  who  are  almost  turning  back  on  the 
dry  plate  entirely,  for  between  the  continual 
change  of  emulsion  and  the  tremendous  dis- 
coveries in  developers,  an  amateur  or  a 
professional  is  continually  kept  changing 
exposures  and  development  without  any 
certainty  of  approximation  to  good  results, 
and  it  is  becoming  almost  impossible  to 
make  a  handsome,  clean  printing  negative 
without  the  instantaneous  craze  back- 
ground, which  is  a  vile-looking  affair  m  a 
picture. 

(To  be  continued.) 


PERTAINING  TO  THE 


No.  24  of  the  Amateur  Photographer  has  been 
received.  It  is  a  very  interesting  journal  of  a 
popular  character,  devoted  to  the  interest  of 
photography  and  the  allied  arts  and  sciences, 
containing  many  very  pleasant  and  well-written 
articles,  and  reports  of  various  photographic 
societies. 

We  have  just  received  the  new  catalogue  issued 
by  Messrs.  Buchanan,  Smedley  &  Bkomley,  25 
N.  Seventh  Street,  Philadelphia.  It  contains  a 
full  description  of  all  that  is  needful  in  the  art, 
being  especially  full  in  the  list  of  lenses. 


Buffalo,  N.  Y.,  April  14,  1885. 

The  Sixth  Annual  Convention  of  the  P. 
A.  of  A.  was  to  have  been  held  in  Music 
Hall,  Buffalo,  but  on  account  of  this  fine 
building  having  been  destroyed  by  fire, 
other  quarters  had  to  be  procured.  I  have 
been  able  to  secure  the  new  State  Arsenal 
for  the  coming  exhibition.  This  is  one  of 
the  most  magnificent  buildings  in  the 
country  for  the  purpose,  having  a  floor  space 
of  50,000  square  feet,  without  anything  to 
obstruct  the  view.  This  will  give  ample 
space  for  exhibits,  and  allow  for  spacious 
aisles  around  each,  so  that  all  will  show  to 
advantage. 

This  Convention  promises  to  be  the  best 
ever  held,  as  reports  from  all  quarters 
guarantee  a  very  large  attendance.  The 
Western  photographers  are  already  on  the 
alert,  making  preparations  to  attend  in 
large  numbers. 

I  am  almost  daily  in  receipt  of  letters 
from  parties  requiring  space,  and  the 
amount  now  sold  exceeds  my  most  san- 
guine expectations. 

The  afternoon  sessions  will  be  made  es- 
pecially interesting  by  short  practical  papers 
on  photography.  Already  a  number  have 
signified  their  willingness  to  contribute, 
among  them  the  following :  J.  Traill  Taylor, 
Editor  Photographic  Times,  New  York ; 
E.  L.  Wilson,  Editor  Philadelphia  Pho- 
tographer; J.  F.  Kyder,  Cleveland,  O.  ; 
President  Landy,  Cincinnati ;  and  several 
gentlemen  from  Europe,  whose  names  I 
have  not  learned,  with  others  to  hear  from. 
In  fact,  every  department  promises  to  be  a 
success. 

The  utmost  harmony  exists  among  officers 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


155 


and  members.     All  appear  to  be  doing  their 
best  to  put  new  life  in  the  Association,  and 
to  make  the  coming  Convention  memorable. 
Fraternally, 

H.  McMichael, 

Secretary. 


OBITUARY. 


The  death  of  the  Lord  Mayor  of  London 
is  announced.  Mr.  Nottage,  who  was  born 
in  1822,  was  of  Welsh  descent,  of  a  family 
long  settled  in  ISTottage,  Glamorganshire. 
He  spent  his  early  life  in  Essex,  afterward 
engaged  in  the  iron  trade,  and  became  most 
extensively  known  in  later  years  as  the 
founder  of  the  London  Stereoscopic  and 
Photograph  Company,  a  concern  that  has 
done  an  extensive  business  in  London  for 
the  past  twenty  years  or  more.  He  was 
elected  alderman  in  1875,  and  served  as 
sheriff  of  London  and  Middlesex  in  1877. 
He  was  installed  Lord  Mayor  last  Novem- 
ber, and  the  show — as  it  is  called — that  he 
made  at  that  time  was  regarded  as  one  of 
the  most  extravagant  demonstrations  of  the 
kind  ever  witnessed  in  London. 

ON  THE  EXERCISE  OF  TASTE  IN 
PHOTOGRAPHY. 

So  much  has  been  written  about  the 
necessity  of  artistic  feeling  in  photography 
that  one  is  often  in  despair  lest  that  inspira- 
tion not  having  been  the  natural  accom- 
paniment of  his  birth,  his  labors  after  its 
attainment  may  be  in  vain  ;  nevertheless, 
one  cannot  help  believing  with  Ben  Jonson, 
that  after  all  "a good  poet's  made  as  well 
as  born."  So  our  hope  comes  to  our  rescue, 
and  bridges  over  our  doubts,  and  we  find 
ourselves  in  the  beautiful  regions  of  self- 
confidence. 

Now,  what  is  taste  or  artistic  feeling? 
We  do  not  ask  like  Pilate,  who  said  "What 
is  truth?"  and  straightway  went  out,  afraid 
that  he  might  be  told.  We  are  anxious  to 
know  how  it  may  be  acquired,  and  whether 
the  desire  to  possess  it  may  not  be  the  indi- 
cation that  we  have  the  germ  which  in- 
dustry and  well-directed  effort  may  develop. 

"A  self-taught  painter,"  says  Constable, 
"  is  one  taught  by  a  very  ignorant  person." 
But  I  must  confess  that  I  am  rather  doubt- 


ful of  the  value  of  set  rules  in  art  or  pho- 
tography. 

Old  Dr.  Johnson  once  said  to  Miss  Bur- 
ney  "There  are  three  distinct  kinds  of 
judges  upon  all  new  authors  or  productions  ; 
the  first  are  those  who  know  no  rules,  but 
pronounce  entirely  from  their  natural  taste 
or  feelings  ;  the  second  are  those  who  know 
and  judge  by  rules  ;  and  the  third  are  those 
who  know  but  are  above  the  rules.  These 
last  are  those  you  should  wish  to  satisfy. 
Next  to  them  rate  the  natural  judge,  but 
ever  despise  those  opinions  that  are  formed 
by  rules." 

Johnson's  judgment  was  always  sound 
and  unaffected — he  judged  as  he  felt,  natur- 
ally. In  speaking  of  Shakespeare's  atten- 
tion to  the  laws  of  nature,  he  says,  "  He 
was  an  exact  surveyor  of  the  inanimate 
world ;  his  descriptions  have  always  some 
peculiarities  gathered  by  contemplating 
things  as  they  really  exist.  Whether  life 
or  nature  be  his  subject,  he  shows  plainly 
that  he  has  seen  with  his  own  eyes  ;  he 
gives  the  image  which  he  receives,  not 
weakened  or  distorted  by  the  intervention 
of  any  other  mind.  The  ignorant  feel  his 
representations  to  be  just,  and  the  learned 
see  that  they  are  complete." 

I  think  that  the  great  requisite  for  taste 
is  simplicity.  Now,  by  simplicity  don't 
understand  tameness.  Tameness  is  always 
an  indication  of  poverty  of  resource.  Sim- 
plicity is  best  expressed  by  temperance,  be- 
cause taste  will  venture  much,  sometimes 
very  much  that  is  not  quite  compatible  with 
conservatism,  but  this  venture  is  always 
attended  with  success,  because  the  bounds 
of  temperance  are  never  overstepped.  Good 
taste  never  seeks  merely  to  astonish — this  is 
the  province  of  sensationalism.  Violent 
lighting,  bizarre  posing,  and  affected  com- 
position are  not  the  material  with  which  it 
constructs  that  which  is  chaste  and  beauti- 
ful. Taste  does  not  search  in  every  corner 
of  the  globe  to  find  something  new.  No  ; 
it  is  content  with  the  material  which  its 
own  age  and  generation  supplies.  It  re- 
quires far  less  ability  to  invent  something, 
the  indigest  of  the  fancy,  something  which 
the  world  has  never  seen  before,  and  which 
perhaps  the  world  will  be  sorry  that  it  has 
seen,  than  to  select,  with   taste,  from    the 


156 


THE    PHILADELPHIA    PHOTOGRAPHER. 


great  storehouse  of  nature's  beauties.  It 
is  sometimes  argued  that  fashion  controls 
taste,  but  good  taste  never  finds  any  obstacle 
in  the  most  arbitrary  dictates  of  fashion, 
because  it  is  superior  to  them. 

I  do  not  think,  however,  that  taste  de- 
spises all  rules.  The  indolent  photographer, 
no  matter  how  much  of  inherent  talent  he 
may  have  in  matters  of  taste,  will  find  his 
vanity  a  poor  prop  to  depend  upon  for 
judgment.  If  genius  alone  discovers  laws, 
surely  she  will  not  despise  their  value. 
Genius  is  never  lawless  either  in  science  or 
art,  but  she  never  obeys  the  letter  but  the 
spirit,  which  quickens  to  greatness  of  result. 
There  are  some  rules  which,  as  Sir  Joshua 
Keynolds  has  aptly  said,  "  the  authority  of 
which,  like  that  of  our  nurses,  continue 
no  longer  than  while  we  are  in  a  state  of 
childhood."  For  instance,  there  is  a  rule- 
laid  down,  which  I  think  Leonardo  da 
Vinci  was  the  first  to  lay  stress  upon, 
that  in  the  management  of  light  and  shade 
in  a  picture  you  must  oppose  a  light  ground 
to  the  shadowed  side  of  your  figure,  and 
a  dark  ground  to  the  light  side.  A  very 
just  principle,  and  one  which  produces, 
in  ninety-nine  cases  out  of  one  hundred, 
beautiful  results ;  yet  Leonardo  was  the  very 
first  one  to  violate  the  law.  Not  that  he 
was  anxious  to  show  that  be  was  superior 
to  law,  but  because  his  consummate  taste 
showed  him  when  that  law  could,  with 
force,  be  suspended.  No  doubt  he  had,  as 
you  have,  seen  in  nature  that  the  combina- 
tions of  lights  with  lights  and  darks  with 
darks  produced  glorious  effects.  What  we 
object  to  is  the  rigidity  with  which  these 
laws  for  the  production  of  artistic  effect 
are  laid  down  in  works  treating  of  the 
artistic  side  of  photography. 

We  do  not  think  that  the  photographer 
should  be  a  slave  to  method  or  make  pict- 
ures by  the  rule  of  three.  Let  him  use  his 
own  selective  ability,  and  if  the  conception 
dawns  upon  him  that  a  group  in  a  composi- 
tion will  be  made  more  beautiful  by  totally 
disobeying  the  rule  of  pyramidal  construc- 
tion, let  him  regard  it  as  an  inspiration, 
and  follow  whither  it  leads  him.  We  do 
not  mean  that  he  should  set  out  with  the 
intention  of  violating  all  the  set  rules  in 
the  belief  that  he  will  produce  something 


effective.  Lay  not  that  flattering  unction 
to  your  soul,  0,  photographer!  You  may 
gratify  your  vanity,  but  good  sense  and 
good  taste  will  not  hold  up  your  hands. 
Take,  for  instance,  the  "  Last  Supper,"  by 
Da  Vinci.  We  are  told  that  in  any  com- 
position where  there  are  a  number  of  fig- 
ures represented,  some  of  them  should  be 
given  with  their  backs  to  the  spectator. 
Eaphael  has  done  it,  Titian  always,  Giotto, 
and,  in  fact,  all  have  conformed  to  the  set 
principle.  But  what  did  Leonardo?  Every 
face  in  that  wonderful  work  is  visible  to 
the  spectator,  yet  who  will  assert  that  any 
other  picture  of  the  "Last  Supper,"  by 
any  other  artist,  no  matter  what  his  genius, 
approaches  this. 

Wattau  once  painted  two  pretty  little 
girls,  sisters.  He  represented  them  side  by 
side.  They  looked  almost  alike,  and  dressed 
alike,  painted  with  the  same  light  and 
shade,  and,  strange  to  say  their  faces  are 
directly  in  front — looking  at  the  camera; 
as  a  photographer  would  say,  yet  nothing- 
could  be  more  charming,  nothing  more 
effective.  Why?  Because  the  scene  is  a 
real  one.  It  is  native  simplicity  and  total 
freedom  from  affectation. 

If  we  take  nature  for  our  guide,  I  do 
not  say  we  shall  not  err  therein  though 
we  be  fools,  but  I  do  say,  if  we  be  not 
fools  we  shall  find  that  by  the  exercise 
of  the  gifts  which  God  has  given  us,  we 
shall  advance  more  rapidly  towards  the 
power  of  good  judgment  and  good  taste 
than  by  the  blind  obedience  to  set  rules. 
All  laws  are  really  nature's  laws,  and  all 
which  affects  us  as  beautiful  is  but  the  vary- 
ing phases  of  nature.  Art  itself  is  but  selec- 
tions from  nature,  and  even  genius  is  only 
the  preeminence  in  the  power  of  perceiving 
what  is  beautiful  in  nature,  else  how  would 
men  who  are  not  geniuses  see  the  beauties 
which  genius  discovers  and  reveals  to  them. 
Nature  is  inexhaustible  in  her  resources, 
and  the  revelations  she  manifests  to  great 
minds  must  not  be  called  the  creations  of 
their  intellects.  The  superior  intellect  first 
perceives,  but  others  less  gifted  can  also 
appreciate,  and  justly,  it  is  therefore  no 
excuse  to  say  that  we  live  in  an  unpoetic 
age,  or  in  a  period  unartistic.  Poetry  and 
art   never  die.     There  is  as   much   in  the 


THE    PHILADELPHIA    PHOTO&KAPHEK. 


157 


nineteenth  century,  if  not  more,  for  the 
employment  of  the  artistic  talent  as  there 
was  in  the  period  of  the  Kenaissance.  Our 
artists  and  poets  may  sigh  after  the  middle 
ages,  and  paint  and  sing  of  the  heroes  and 
heroines  of  the  past,  forgetful  of  the  heroes 
and  heroines  of  the  present,  though  dressed 
in  the  costumes  which  age  has  not  mellowed 
with  the  beauty  of  quaintness.  When  men 
shall  awake  to  the  appreciation  of  the  latent 
beauty,  yes,  artistic  beauty,  in  our  machine 
shops  and  factories,  our  steamships  and 
locomotive,  and  the  scenes  which  they  wit- 
ness every  day  of  their  lives,  they'  will  no 
longer  look  back  to  the  past,  but  will  realize 
the   value  of  the   present.     Let  me   say  a 


word  here  in  encouragement  to  the  photog- 
rapher. I  think  he  lives  more  intimately 
in  the  present,  feels  more  its  full  force  and 
value,  and  constructs  his  pictures  with  more 
originality  from  the  material  at  his  hand, 
than  the  painter,  though  the  camera  may 
be  a  more  humble  instrument  of  art  than  the 
brush  and  the  palette.  When  some  man  of 
genius  shall  show  the  modern  world  the 
beauties  which  its  heavy  eyes  have  not  seen, 
it  will,  on  looking  back,  be  conscious  of  the 
fact  that  more  true  originality  in  art  is  in 
the  picture  by  the  artistic  photographer 
than  by  the  painter  of  the  nineteenth  cen- 
tury. Necessity  has  compelled  him  to  grasp 
the  present,  and  art  to  extract  beauty  from  it 


Pictures  Received. — No.  6,  vol.  ix.,  of  the 
Journal  and  Transactions  of  the  Photographic 
Society  of  Great  Britain,  is  embellished  with  a 
beautiful  Woodburytype  entitled  "  The  Return 
from  Plough."  The  print  is  from  a  negative  by 
Mr.  J.  Gale,  and  is  remarkable  for  the  softness 
and  harmony  in  the  gradations  of  light  and 
shade.  The  grouping  is  very  artistically  con- 
ceived. No.  11  of  the  Deutsche  Photog.  Zeitung 
presents  its  readers  with  a,  series  of  character 
studies  from  German  life,  which  are  not  only 
highly  amusing,  but  also  excellent  as  studies  of 
ethnology.  The  negatives  are  by  Mr.  Louis 
Becker,  of  Essen,  and  the  lichtdrucks,  or  pho- 
totypes, as  we  call  them,  by  Mr.  William  Hoff- 
man, of  Dresden.  We  have  received  from  Mr. 
R.  Laidlaw,  of  Hamilton,  Ontario,  a  number 
of  excellent  photographs  of  buildings  and 
churches,  made  upon  plates  manufactured  by 
himself.  Mr.  Laidlaw  deserves  great  credit, 
not  only  lor  his  excellent  photographic  work, 
especially  the  interiors,  which  are  beautifully 
lighted,  but  also  for  his  skill  as  a  dry-plate 
maker.  The  prints  are  excellent  in  tone,  the 
shadows  are  clear  and  full  of  detail,  and  the 
high  lights  soft,  all  of  which  bear  evidence  to 
the  good  quality  of  the  emulsion  he  uses. 


The  Morrison  Lenses. — Those  of  our  readers 

who  are  preparing  for  their  summer  work  have 

an    opportunity  of  possessing    at   a   low   price, 

ome  of  the   excellent   Morrison    lenses   which 


have  been  in  use  at  the  New  Orleans  Exposi- 
tion These  lenses  need  no  word  of  commenda- 
tion from  us.  They  have  been  in  use  a  dozen 
years  or  more,  and  their  reputation  is  well  es- 
tablished. Of  course,  a  large  number  were 
necessary  to  do  the  work  at  New  Orleans  ex- 
peditiously, and  that  work  being  ended  they 
are  for  sale.  The  offer  is  made  in  the  advertise- 
ment, and,  as  it  will  be  seen,  includes  some 
American  Optical  Company's  boxes  also,  with 
tripods,  holders,  printing-frames,  and  other 
articles.  For  amateurs  particularly,  this  will  be 
a  good  chance.  Please  address  as  directed  in 
the  advertisement. 

Report  of  the  proceedings  of  the  Seventh 
Meeting  of  the  Photographic  Merchants'  Board 
of  Trade,  held  at  the  Metropolitan  Hotel,  New 
York,  February  10,  1885.  We  have  received  a 
copy  of  this  document  from  the  present  Secre- 
tary, Mr.  D.  K.  Cady,  of  Cincinnati,  which,  be- 
sides the  minutes  of  the  meeting,  list  of  mem- 
bers, etc.,  includes  a  very  able  paper  read  at 
the  meeting  by  Mr.  G.  A.  Douglass,  of  Chicago, 
on  the  state  of  the  trade,  the  census  of  photog- 
raphers, and  the  literature  of  the  profession, 
the  relation  of  the  dealers  to  the  Photographers' 
Association  of  America,  etc.,  the  whole  of  which 
having  been  published  in  two  or  three  of  the 
photographic  magazines,  and  now  in  pamphlet 
form,  we  omit,  but  which  we  commend  to  all  for 
careful  reading.     We  are  glad  to  know  that  the 


158 


THE    PHILADELPHIA    PHOTOGPA  PHEP. 


work  undertaken  by  Mr.  Douglass  is  to  be  fol- 
lowed by  a  duly  appointed  committee,  and  that 
further  statistics  may  be  expected  in  the  future. 
The  Board  of  Trade  seem  to  be  doing  an  excel- 
lent work,  and  one  that  will  not  only  bind  its 
members  together,  but  will  be  useful  to  the  fra- 
ternity at  large  in  promoting  the  interests  of 
every  one  connected  with  it.  We  hope  to  see  it 
grow  stronger  and  stronger  with  every  year. 


Programme  of  the  International  Photo- 
graphic Exhibition  to  be  Opened  at  Oporto, 
Portugal,  September  1,  1885. — The  Board  of 
Directors  of  the  Crystal  Palace  and  the  Society 
(Photographia  Moderna)  seconded  by  Portu- 
guese Amateur  Photographers,  contributors  to 
the  art  journal — A  Arte  Photographica, — intend 
to  open  on  the  first  of  September,  1885,  an  In- 
ternational Exhibition  of  works,  products,  etc., 
belonging  to  every  branch  of  Photography  and 
Heliography.  All  photographers,  amateurs, 
and  manufacturers  of  photographic  apparatus, 
implements  referring  directly  to  the  art  in  ques- 
tion, whether  Portuguese  or  foreign,  are  respect- 
fully requested  to  take  part  in  this  concourse. 
For  further  information  we  beg  to  present  our 
readers  with  the  following  programme  adopted 
by  the  Commission : 

The  opening  of  the  Exhibition  will  take  place 
in  the  Crystal  Palace  of  Oporto,  on  the  1st  of 
September,  1885,  and  the  closing  will  be  effected 
on  the  31st  of  October  of  the  same  year. 

Persons  wishing  to  become  exhibitors  are  re- 
quested to  communicate,  up  to  the  30th  of  April, 
1885,  with  the  Secretary  of  the  Commission,  and 
indicate  the  space  which  they  will  require,  as 
well  as  the  class  or  nature  of  the  objects  to  be 
exhibited,  in  conformity  with  the  conditions 
specified  in  the  different  clauses  of  this  pro- 
gramme. 

All  objects  to  be  exhibited  must  be  forwarded 
before  the  1st  of  July,  1885,  at  the  expense  of 
the  senders,  to  the  following  address  :  Com- 
missao  Exeeutiva  da  Exposicao  International  de 
Photographia —  Oporto. 

The  articles  must  be  accompanied  by  a  list, 
indicating  the  number  of  objects  sent,  signed 
by  the  exhibitor,  and  specifying  whether  the 
space  he  wishes  to  occupy  be  horizontal  or  verti- 
cal. 

The  exhibitors  must  secure  their  prints  in 
appropriate  frames.  In  order  to  avoid  expenses 
and  difficulties  to  the  exhibitors,  the  Commission 
will  take  upon  itself  so  furnish  suitable  glass 
cases  at  the  most  moderate  prices.  A  previous 
demand  having  been  made  by  the  exhibitor  to 
this    effect,   the    prints  must  be  sent  in  proper 


condition,  according  to  the  custom  on  such  occa- 
sions. 

The  account  presented  by  the  Commission 
must  be  previously  settled  by  the  exhibitor. 

The  exhibitor  is  requested  to  inscribe  his  name 
on  each  separate  print  or  frame  containing 
several  prints. 

It  will  be  necessary  to  mention  and  specify  : 
The  subject ;  the  negative  process  whether  (as  in 
the  case  of  wet  or  dry  collodion),  collodion  or 
gelatine  emulsions,  albuminous  as  well  as  posi- 
tive processes.  All  information  regarding  pho- 
tographic processes  in  general  will  be  thankfully 
received. 

Exhibitors  wishing  to  sell  their  prints,  frames, 
or  products  of  whatever  sort,  must  give  notice  of 
their  intention  to  the  Commission ;  and  will 
please  name  the  price,  which  will  be  affixed  to 
the  object  during  the  whole  time  of  the  Exhibi- 
tion. 

No  print  or  object  can  be  withdrawn  from  the 
cases  before  the  closing  of  the  Exhibition,  with- 
out the  special  permission  of  the  Executive 
Commission. 

The  same  Commission  reserves  to  itself  the 
right  of  rejecting  such  objects  as  may  be  con- 
sidered unworthy  of  being  exhibited. 

The  Executive  Commission  will  place  at  the 
disposal  of  a  Special  Jury,  gold,  silver,  and 
copper  medals  and  honorary  certificates,  to  be 
conferred  on  the  most  praiseworthy  exhibitors, 
whose  products  will  enter  into  the  following  cate- 
gories : 

A.  Prints  in  fatty  inks  from  gelatine  on  metal 
or  glass. 

B.  Heliographlc  impressions  (photogravure 
sur  cuivre). 

C.  Woodburytype,  photoglyptic,  stannotypic, 
and  other  processes. 

D.  Photolitho  and  photozincography,  gilo- 
tage,  etc. 

E.  Carbon  photography,  chromotype,  photo- 
ehromia  on  paper,  glass,  wood,  and  porcelain. 

F.  Photography  on  albumen  paper,  collodion- 
chloride,  gelatine  bromide,  gelatine  chloride, 
platinotype,  etc. 

G.  Gyanotypia  and  analogous  processes. 

H.  Enamels,  vitrified  photographs,  colored 
photography  processes,  applied  to  pottery. 

/.  Amplifications  of  cliches,  portraits,  and 
landscapes.  Special  positives  for  projections, 
together  with  such  explanations  appropriate  for 
teaching  and  scientific  lectures.  Amplifications 
in  gelatine  bromide,  chromotypia,  ferro-prus- 
siate,  collodion-chloride. 

J.  Apparatus  and  photographic  implements, 
specialties  of  work  referring   to  the  operations 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


159 


of  scientific  expeditions,  for  tuition,  industry, 
etc. 

K.  Photomicrography,  different  appliances  of 
photography  relating  to  micrographical  studies 
and  investigations. 

L.  Works  and  journals  on  photography. 

M.  Photographically  illustrated  publications 
and  photomechanical  processes. 

N.  Gelatine  plates,  paper  prepared  for  the 
different  processes,  portrait  cards,  and  different 
sorts  of  card-board,  chemical  products,  albums, 
passepartouts,  together  with  whatever  ornamen- 
tations may  be  applied  to  photographic  prints. 

The  Special  Jury  for  the  awarding  of  prizes 
will  be  composed  of  a  certain  number  of  Mem- 
bers indicated  by  the  Principal  Commission. 

The  Principal  Commission  takes  upon  itself 
to  regulate  the  general  expenses  of  organization, 
installation,  and  administration. 

Ten  per  cent,  will  be  reserved  on  the  value  of 
articles  exhibited  and  sold  during  the  Exhibi- 
tion. 

The  articles  belonging  to  the  different  exhibi- 
tors will  be  sent  back  directly,  at  their  expense 
and  risk,  within  thirty  days  after  the  closing  of 
the  Exhibition. 

Any  case  unforseen,  and  not  included  within 
these  regulations,  will  be  resolved  by  verdict  of 
the' Principal  Commission.  Against  this  verdict 
there  will  be  no  appeal. 

The  Principal  Commission :  Direction  of  the 
Crystal  Palace,  Leopoldo  Cirne,  Ildefonso  Correa, 
Carlos  Relvas,  Eduardo  Alves,  Augusta  Gama. 


The  Suter  Lens. — We  have  great  pleasure 
in  referring  again  to  the  excellence  of  this  re- 
markable lens,  the  importation  of  Messrs. 
Allen  Bros.,  the  agents,  14  and  16  East  Larned 
Street,  Detroit,  Mich.  These  gentlemen  have 
become  immensely  popular  benefactors,  for  they 
have  given  us  a  wonderful  lens  of  great  depth 
and  power  at  a  low  price.  In  our  work  at  New 
Orleans  we  have  used  several  of  these  lenses, 
one  of  which,  8  B,  is  remarkable  for  depth  and 
definition,  and  for  illuminative  qualities,  which 
we  never  saw  excelled.  Quite  a  number  of 
20  x  24  plates  have  been  made  with  this  lens, 
with  the  most  exquisite  results.  Below  we  ap- 
pend a  clipping  from  the  Detroit  Free  Press, 
which  was  called  forth  by  a  print  from  one  of 
our  negatives  sent  to  Messrs.  Allen  Bros., 
which  is  from  the  pen  of  the  funny  man  of  the 
Free  Press,  Mr.  Barr  (Luke  Sharp),  also  a 
prominent  photographer.  Mr.  Luke  Sharp, 
after  saying  it  is  the  best  picture  he  ever  saw, 
writes  further,  as  follows  : 

"  The  picture  was  in  the  British  Honduras  Sec- 


tion at  the  Exhibition,  and  the  amount  of  well- 
defined  detail  was  nothing  short  of  marvellous. 
The  netting,  lettering,  etc.,  and  the  thousand 
different  articles  that  made  up  the  British  Hon- 
duras exhibit  were  all  shown  as  perfectly  as  if 
each  piece  had  been  photographed  separately 
under  the  best  light.  The  work  was  done  by 
a  Suter  lens,  a  lens  made  in  Switzerland." 

The  picture  alluded  to  at  the  Court  of  British 
Honduras  at  the  Exposition  at  New  Orleans, 
contains  articles  of  all  kinds,  from  the  minutest 
materials  to  the  coarsest  kind  of  logs,  as  ebony, 
together  with  netting,  plaited  work,  skins  of 
wild  animals,  articles  made  of  rushes  plaited, 
and  what-not  of  tropical  productions,  all  of 
which  are  equally  defined,  and  which  have  re- 
sponded to  the  most  delicate  capabilities  of  the 
modern  dry  plate.  The  photograph  is  simply 
exquisite,  not  because  the  editor  of  this  maga- 
zine stood  by  and  had  a  hand  in  making  it,  but 
because  of  the  merits  of  the  various  articles 
used  in  its  make  up,  the  principal  one  of  which 
was  the  excellent  lens  used  on  that  occasion. 
We  recommend  these  lenses  with  all  the  cheer- 
fulness in  our  composition. 


Mr.  Muybridge,  whose  name  is  associated 
with  the  subject  of  instantaneous  pictures  of 
animals  in  motion,  recently  gave  a  private  ex- 
hibition with  his  zoopraxoscope  before  the 
Biological  Department  of  the  University  of  Penn- 
sylvania. About  three  hundred  pictures  were 
shown  in  series  representing  nude  men  in  a 
variety  of  attitudes,  and  performing  different 
operations.  Pictures  were  also  shown  of  physi- 
cal deformities,  and  of  various  animals  in  the 
Philadelphia  Zoological  Garden.  The  cameras 
used  were  marvels  of  beauty.  Dalmeyer  lenses 
of  two  and  a  half  or  three  inch  aperture,  and 
twelve  inch  focus  were  employed,  also  a  number 
of  smaller  cameras  of  eight  inch  focus,  arranged 
in  batteries.  The  appliances  altogether  were 
very  elaborate,  and  so  arranged  as  to  take  a 
series  of  progressive  forms  from  front,  side,  and 
rear.  The  shutters  employed  were  very  large, 
almost  gigantic,  and  a  very  high  rate  of  speed 
was  claimed  for  them,  which  was  not  generally 
credited  by  the  audience,  which  was  composed 
largely  of  scientific  men,  artists,  and  photogra- 
phers. 


Books  Received. — We  have  received  a  little 
work  entitled  Silver  Printing  on  Albumem 
Paper,  by  Mr.  W.  H.  Potter,  published  by 
Messrs.  H.  Lieber  &  Co.,  of  Indianapolis,  Ind. 
containing  a  very  excellent  description  of  the 
various  processes  employed  in  silver  printing; 


160 


THE    PHILADELPHIA    PHOTOGRAPHER. 


written  by  one  who  has  had  practical  experi- 
ence in  manipulation,  and  knows  just  the  snags 
and  difficulties  that  are  encountered,  and  the 
way  to  steer  the  course  clear  through  to  success. 
No  amateur  should  be  without  this  little  book, 
which  is  both  pleasant  and  instructive  reading. 
The  price  is  within  the  reach  of  every  one. 
From  the  Scovill  Manufacturing  Company, 
423  Broome  Street,  New  York,  series  No.  17, 
First  Lessons  in  Amateur  Photography,  by  Mr. 
Randall  Spaulding.  A  series  of  lectures  con- 
taining concise  descriptions  of  apparatus,  and 
explanation  of  the  methods  of  exposing  devel- 
oping, fixing,  and  finishing  of  photographs  by 
the  dry  method.  The  author  is  a  teacher,  and 
knows  just  how  to  impart  valuable  instruction. 


A  very  interesting  exhibition  of  lantern 
slides,  the  work  of  the  members  of  the  Photo- 
graphic Society  of  Philadelphia,  was  given  on 
the  evening  of  April  8th,  at  Association  Hall. 
The  work  was  of  a  very  excellent  character,  and 
showed  much  artistic  ability  on  the  part  of  the 
exhibitors. 

Postal  Photographic  Club;  Prospectus. — 
This  club  has  been  organized  to  afford  an  op- 
portunity to  amateurs  in  all  parts  of  the  coun- 
try of  communicating  with  each  other.  The 
general  scheme  consists  in  having  each  member 
contribute  six  or  more  specimens  of  work,  these 
specimens  to  be  arranged  in  albums  by  the 
Secretary,  and  to  be  sent  from  one  member  to 
the  other  (each  member  paying  carriage  to  the 
next  on  the  list).  A  notebook  will  accompany 
each  album,  and  in  this  notebook  each  member 
will  write  criticisms  on  the  work  presented,  and 
vote  on  a  prize  print.  The  management  of  the 
club  is  in  the  hands  of  a  committee  of  five 
members.  The  expenses  are  to  be  met  by  an 
admission  fee  of  fifty  cents  and  annual  dues  of 
two  dollars.  Ladies  are  eligible  to  member- 
ship, and  this  club  offers  them  an  opportunity 
for  correspondence  in  photographic  work.  All 
interested  are  requested  to  communicate  with 
the  Secretary,  Mr.  Joseph  S.  Rich,  50  West 
Thirty-eighth  Street,  New  York,  who  will  send 
a  copy  of  the  rules,  and  furnish  any  information 
desired.  Chas.  W.  Canpield, 

Joseph  Rich, 
Fredk.  C.  Beach, 
H.  V.  Parsell, 
Randall  Spaulding, 
Committee. 

At  a  meeting  for  the  organization  of  the  Postal 
Photographic  Club,  held  April  1,  1885,  at  361 
Broadway,  New  York,  the  following  gentlemen 


were  elected  us  the  committee  :  Messrs.  Charles 
W.  Canfield,  Joseph  S.  Rich,  Frederick  C. 
Beach,  H.  N.  Parsell,  and  Randall  Spauld- 
ing. At  a  subsequent  meeting  of  the  Committee 
the  following  officers  were  chosen  for  the  year  : 
President,  Charles  W.  Canfield;  Secretary 
and  Treasury  Mr.  Joseph  C.  Rich.  The  rules 
as  presented  were  adopted. 

Frederick  C.  Beach, 

Secretary  pro  tern. 
New  York,  April  6,  1885. 
Dear  Sir:  The  Postal  Photographic  Club 
being  now  fully  organized,  the  Secretary  would 
like  to  have  intending  members  send  in  prints 
for  the  first  album,  which  will  begin  its  travels 
about  the  25th  of  this  month.  Rules  12  and  13 
give  information  as  to  these  prints.  Herewith 
will  also  be  found  "print  slip.'' 

The  membership  of  the  Club  will  probably  be 
twenty-five  before  the  end  of  this  month,  and 
with  thirty  names  on  the  list  all  expenses  for 
the  first  year  can  be  met.  If  you  know  of  anyone 
who  might  join  this  Club,  the  Secretary  would 
be  pleased  to  have  you  send  his  name. 

Joseph  S.  Rich, 

Secretary. 
50  West  Thirty-eighth  Street,  N.  Y. 

The  Philadelphia  Photographer. — The  last 
number  of  this  important  trade  magazine  con- 
tains a  further  account  of  photographic  exhibits 
at  New  Orleans,  and  many  practical  suggestions 
to  photographers  in  special  articles  and  the  re- 
ports of  society  meetings.  The  illustration  is  a 
collection  in  miniature  of  a  beautiful  set  of 
views  of  bay  and  mountain  scenery,  taken  by 
San  Francisco  amateurs.  They  are  instantane- 
ous pictures,  taking  birds  on  the  wing,  the 
spray  of  a  breaking  wave,  and  the  dust  thrown 
up  by  galloping  coach  horses.  The  composition 
of  the  pictures  is  highly  artistic.  Mr.  Edward 
L.  Wilson,  Philadelphia,  is  the  publisher. — 
Philadelphia  Public  Ledger. 

It  is  the  intention  of  the  Managers  of  the 
Lehigh  University,  at  Bethlehem,  Pa.,  to  add  to 
the  Department  of  Chemistry,  now  under  the 
direction  of  Prof.  W.  H.  Chandler,  a  section 
devoted  to  photography.  Prof.  W.  D.  Holmes, 
former  art  editor  of  Our  Continent,  is  to  be  in- 
structor. It  is  his  intention  to  form  two  classes, 
one  for  advanced  scholars  who  are  desirous  of 
experimenting  and  investigating,  and  one  for 
those  who  intend  merely  to  gain  a  practical 
knowledge  of  the  science.  The  plans  are  not 
fully  matured,  but  arrangements,  it  is  hoped, 
will  be  completed  so  as  to  begin  instruction  with 
the  fall  terui. 


MAKE  OUT  YOUR  OWN  BILL,  and  remit  cash  with  your  advertisements,  or  they  will  not  be 
inserted. 

ADVERTISING-  RATES  FOR  SPECIALTIES — Six  lines,  one  insertion,  $2.00,  and  25  cents  for 
each  additional  line,  seven  words  to  a  line — in  advance.  Operators  desiring  situations,  no  charge.  Mattel 
must  be  received  by  the  23d  to  secure  insertion.  Advertisers  will  please  not  ask  us  for  recommendations. 
4®=  We  cannot  undertake  to  mail  answers  to  parties  who  advertise.  Please  always  add  your  address  to  the 
advertisement.     Postage-stamps  taken. 


until  July  or  August 


Backgrounds,  Etc. 
Coming  out  weekly. 
New  designs  for  the 
Spring  and  Summer 
Season.  Replenish  your 
stock  now  ?  Do  not  wait 
From  our  six  hundred 
designs  all  climes  and  conditions  can  be 
suited. 

Twenty  Second-hand  Backgrounds,  some 
as  good  as  new,  at  half  price.  Trees,  Walls, 
Balustrades,  Garden-seats,  Gates,  etc.,  in 
stock  for  immediate  shipment.  Call  and 
inspect  our  show-room. 

Lafayette  W.  Seatey, 
Studio,  216  E.  Ninth  St.,  N.  Y. 


W.  F.  ASHE 

ARTISTIC    BACKGROUNDS 

AND 

ACCESSORIES, 

KEMOVED  TO  68  WEST  FOURTH  ST., 
4  Blocks  West  op  Broadway,  N.  Y. 

My  new  studio  is  fitted  up  with  all  the  mod- 
ern improvements,  and  the  most  refined  demands 
from  a  critical  public  can  be  satisfied.  A  visit 
to  my  establishment,  which  has  the  largest 
showroom,  containing  the  greatest  amount  of 
stock  of  any  place  in  the  world,  will  be  grate- 
fully appreciated. 

I  have  again  added  numerous  new  designs  to 
my  great  variety  of  patterns  for  backgrounds 
and  accessories,  and  keep  also  in  stock  a  large 
quantity  of  goods  for  parties  to  select  from, 
saving  time  and  delay  on  orders. 


E0CKI00D  SOLAR  PRIHTIM  CO. 

1 7  Union  Square,  New  York. 

TIME. — It  is  our  intention  that  every  order 
received  in  the  morning's  mail  (when  not  to  be 
put  on  stretchers)  shall  leave  this  establishment 
the  same  day  or  the  following  morning.  If  too 
late  for  the  morning  work,  it  is  sent  on  the  sec- 
ond day.  Having  our  own  engine  and  electric 
light,  loe  are  not  at  all  dependent  on  the  weather. 
GEORGE  H.  ROCKWOOD, 
Business  Manager. 


VOGEL'S  PROGRESS  OF  PHOTOGRAPHY, 

LATEST— BEST— $3. 


Every  photographer  in  want  of  excellent 
lenses,  for  any  purpose,  will  best  serve  his  interest 
by  consulting  the  new  illustrated  price-list  of 
Messrs.  Benjamin  French  &  Co.  before  pur- 
chasing. 


Wanted. — To  purchase  a  photo,  studio  in   a 
Western  city  of  not  less  than  50,000  inhabitants. 
Apply  or  address  P.  E.Thumler, 

88  Maiden  Lane,  N.  Y. 


Address  T.  W.  Power,  N.  Y.,  Secretary  of 
Association  of  Operative  Photographers  of  New 
York  City,  for  operators,  printers,  and  re- 
touchers, 392  Bowery,  or  487  Eighth  Avenue. 


162 


THE    PHILADELPHIA    PHOTOGEAPHER. 


No.  18. 


No.  18. 


WAYMOUTH'S 

VIGNETTE 

PAPERS, 

The  old  form  of  No.  ]8,"Waymouth's  Vignette 
Papers,  oval,  has  heen  discarded,  and  a  new 
pear-shaped  style  is  now  ready  in  its  place.  It 
is  a  beautiful  piece  of  gradation  and  prints 
perfectly.  Price  #1.25  per  dozen.  For  sale  by 
all  dealers.     See  advertisement  for  all  sizes. 


No.  18. 


NOW  READY. 


No.  18. 


PORTRAITS  IN  CRAYON. 
The  new   book    by   E.   Long,   on   the   art  of 
making  portraits   in   crayon   on   solar  enlarge- 
ments, covers  the  entire  ground,  and  is  sold  for 
the  low  price  of  fifty  cents.     For  sale  by 

Edward  L.  Wilson, 

Philadelphia. 

METAL  GUIDES 

FOR 

A.  M.  COLLINS,  SON  &  CO.'S 
No.  26  Gilt  Bevelled-edge  Cards. 
The  fancy-shaped  mounts  now  so  fashionable 
among  photographers,  require  metal  guides  with 
which  to  cut  the  photographs.  They  are  now 
kept  on  hand,  and  can  be  supplied  in  the  follow- 
ing shapes,  and  at  the  prices  mentioned  : 

Each 

Cross $1   05 

Star 1  00 

Palette 90 

Leaf 90 

Bell  90 

Crescent 80 

Egg 50 

Triangle 90 

For  sale  by  Edward  L.  Wilson, 

1125  Chestnut  Street, 

Philadelphia,  Pa. 

We  are  Ready. 
Owing  to  the  sudden  increase  in  the  demand 
for  the  Rockwood  Dry  Plates,  we  were  obliged 
through  the  months  of  July  and  August  to  de- 
cline many  orders.  We  have  now  more  than 
quadrupled  our  facilities,  and  introduced  im- 
provements which  will,  we  hope,  enable  us  to 
fill  orders  with  promptness,  and  give  us  plates 
possessing,  if  possible,  still  more  sensitiveness 
and  uniformity.  For  price-lists  and  samples  <>/ 
work  done  by  the  "Rockwood  Plate," 

Address     J.  A.  Randel,  Manager, 
17  Union  Square,  New  York. 


SOMETHING  NEW. 
Beautiful  Albumen  Solar  Enlargements  from 
your  regular  card  and  cabinet  negatives  without 
reducing  or  injuring  them,  with   all  the  detail 
and  softness  of  the  small  photograph. 

To  introduce  this  new  picture  to  the  fraternity, 
we  will  make  all  cash  orders  for  the  next  thirty 
days  for  18x22  at  $2.00  (regular  price,  $2.50). 
We  also  do  plain  paper  work.  Send  in  your 
fine  negatives  by  express,  prepaid.  Pack  care- 
fully in  wooden  boxes. 

Gilbert  &  Stillman, 

Solar  Printers, 
■Jamestown,  N.  Y. 


Wanted. — Immediately,  second-hand  3  B. 
Dallmejer  lens.     Address         S.  Egan, 

Cor.  3d  and  Jefferson  Sts., 

Dayton,  Ohio. 

For  Sale. — A    well-appointed    gallery   in   a 
thriving  Pennsylvania  town,  for  particulars, 
Address  Wolf  &  Cheyney, 

636  Arch  St.,  Philadelphia,  Pa. 

GILBERT'S  AUTOMATIC  RETOUCHER. 

If  you  send  $3.50  within  thirty  days  to  E.  A. 
Gilbert,  Jamestown,  N.  Y.,  for  one  of  his  Auto- 
matic Retouchers,  you  can  use  it  two  months 
with  the  privilege  of  returning  it  or  paying  the 
balance,  $3.50.  Every  photographer  should 
send  for  one  at  once  on  such  easy  and  fair  terms. 

For  Sale. — I  offer  my  photo,  gallery  in 
Bucksport,  Maine,  for  sale.  The  town  in  con- 
nection witn  Orland,  contains  a  population  of 
5000.  No  opposition.  Gallery  in  good  stand- 
ing and  doing  a  good  business.  Is  well  fitted 
with  instruments,  backgrounds,  and  accessories, 
nearly  new.  Rent  very  low.  A  rare  chance. 
Only  cause  for  selling,  poor  health.  Price,  $1000. 
For  reference,  address  C.  H.  Codman  &  Co., 
Photo.  Stockdealers,  34  Bromfield  St.,  Boston, 
Mass.  H.  Young, 

Bucksport,  Me. 


Wanted. — At  once,  a  gentleman  retoucher, 
who  can  also  occasionally  assist  in  exterior 
viewing.     Address 

Holloway  Art  Parlors, 

Newport,  R.  I. 


Vogel's  Progress  of  Photography, 

LAT  EST— BEST— $3. 


THE    PHILADELPHIA    PHOTOGEAPHER. 


163 


SEWING  MACHINE 


SIMPLE 


THE  ONLY  SEWING  MACHINE 

L .  THAT  GIVES  . J 


WFfflMisiwriM. 


r'HAS  NO  EQUAL*^] 

Si® 


SEWING  MACHINE  CO 

ORANGE  MASS. 

30  UNION  SQ.N.Y   CHICAGO  ILL 
ST.  LOUIS  MO.  ATLANTA  GA. 
-^FOR   SALEBYF^ 


M.  WERNER, 

PORTRAIT    ARTIST, 

No.  102  N.  Tenth  Street,  Philadelphia. 

Photographs  finished   in    crayon,    India  ink, 

water  colors,  and  pastel,  in  all  sizes,  in  the  very 

best  styles,  and  at  moderate  prices. 

Solar  Prints  and  Enlargements  Fnrnished. 


FREE  PRESS 


and  The  Household. 


THE  WITTIEST,  BRIGHTEST  AND 
BEST  OF  WEEKLIES. 


THE  GBEAT  FAMILY  PAPEE. 


Ten  Pages  of  Reading  Mattes  nr 
Infinite  Variety. 


o 
p 

o 


STJBSOEIBB    1STO-W 

AND  RECEIVE  THE  PAPEE  FOB  Tl" 

BALANCE  0FJ884  FREE 

SEND  FOR  SAMPLE  COPY.    AGENTS 
WANTED  EVERYWHERE. 

THE  FREE  PRESS  CO.,      Detroit,  Mich, 


FREE  PRESS 


Bargains. — One  Voigtlander  No.  7  B.  Por- 
trait Lens,  latest  series,  nearly  new,  will  cut 
11  x  14  sharp  and  clear  to  edges  for  groups,  and 
make  14  x  17  busts,  list  price  $160.00,  only  $85.00. 
One  Voigtlander  No  5  Portrait  Lens,  new  series, 
used  one  year,  list  price  $90.00,  only  $55.00. 
One  pair  Dallmeyer  Single  Stereoscopic  Lenses 
only  $18.00,  less  than  one-half  their  cost. 

Any  of  the  above  sent  C.  0.  D.  by  express, 
with  privilege  of  four   days'  trial,  and  money 
returned  by  express  agent  if  not  satisfactory. 
Address  Bachrach  &  Bro., 

Baltimore,  Md. 


164 


TUB   PHILADELPHIA   PHOTOGKAPHEP. 


For  Sale. — At  low  prices,  Morrison  lenses, 
American  Optical  Company's  camera  boxes, 
holders,  tripods,  printing  frames,  etc.  By  the 
end  of  June  I  expect  to  complete  my  work  at 
the  N.  0.  Exposition,  and  will  have  a  large 
number  of  lenses,  etc.,  for  sale  at  greatly  reduced 
prices.  Everything  will  be  guaranteed  in  first- 
class  order,  and  as  the  dry  process  has  been  used 
entirely,  everything  will  be  clean  and  reasonably 
perfect.  For  list  of  articles  and  terms,  apply  to 
The  Centennial  Photographic  Co., 
S.  E.  Gallery,  Main  Building, 

Exposition,  New  Orleans. 

For  Sale. — A  first-class  portable  photograph 
gallery,  only  one  year  in  use,  now  located  in 
Mahonay  City,  Pa.,  doing  a  business  of  from 
$75  to  $100  per  month-  Satisfactory  reasons 
given  for  selling.     Address 

P.  0.  Box  93, 

Mnhonay  City,  Pa. 


WILSON'S  PHOTOG-RAPHICS. 

All  about  emulsion  work  and  plate  mak- 
ing- a  whole  l>ig  chapter.    See  index. 

$4.00  Buy  it.  $4.00 


SITUATIONS  WANTED. 

No  charge/or  advertisements  under  this  head;  limited 
to  /our  lines.     Inserted  once  only, unless  by  request. 


By  a  young  man,  age  21,  as  general  hand, 
has  worked  at  printing,  toning,  and  operating, 
dry  plates  and  ferrotypes.  Distance  no  object. 
Address  Frank  A.  Rowell,  366  Third  Ave.,  N.  Y. 


By  a  young  lady,  as  retoucher.  Samples  of 
work  sent  on  application.  Address  421  N. 
Cherry  Street,  Galesburg,  111. 

By  a  good  operator  on  wet  or  dry  plates,  can 
retouch  or  print.  Address  Fred.  A.  J.  D.,  Lock 
Box  95,  Glen  Falls,  New  York. 

By  a  young  lady,  as  retoucher  and  reception- 
room  attendant.  Will  send  samples  of  work. 
Address  A.  L.  S.,  Retoucher,  720  Spring  Street, 
Peoria,  111. 

By  a  gelatine  bromide  dry-plate  maker,  works 
Henderson's  process.  Best  reference.  Address 
Dry  Plate,  care  W.  E.  James,  8  Montgomery  St., 
San  Francisco,  Cal. 

Permanently,  at  fair  wages,,  as  operator,  etc. 
Quick  and  reliable,  with  long  experience  in  all 
branches  of  the  business.  Address  Win,  Julich, 
432  W.  Forty-ninth  Street,  New  York. 

By  a  photographer  competent  in  the  branches, 
to  take  charge  of  gallery,  either  on  commission 
or  stated  salary.  Best  reference,  etc.  Address 
X.  Y.  Z.,  General  Delivery,  Scranton,  Pa. 

A  first-class  retoucher  would  like  to  change 
his  situation,  Western  city  preferred.  Address 
G.  Meinecke,  1572  Third  Ave.,  New  York  City. 

By  a  competent  man,  as  head  operator  in  a 
first-class  gallery.  Wet  or  dry  plates.  Address 
Thos.  E.  Williams,  25  George  St.,  Baltimore,  Md. 

By  a  printer  and  toner,  with  a  chance  to  learn 
the  business  thoroughly.  Experience  of  more 
account  than  wages.  Address  Eugene  King- 
man, 101  Ellery  St.,  Brooklyn,  N.  Y. 

Bjr  a  No.  1  operator,  a  first-class  position. 
Open  for  engagement  until  June  1  ;  can  do  first- 
class  work.  Address,  for  samples  of  work  and 
terms,  Lock  Box  283,  care  Ream  Bros.,  Delphos,0. 

A  first-class  gallery  in  town  of  5000  inhabi- 
tants, to  run  on  shares  with  privilege  of  buying. 
Address  Photo.,  Box  426,  North  Vernon,  Ind. 

To  retouch  and  attend  reception-room.  Salary 
not  so  much  an  object  as  experience.  Address 
Miss  M.  L.  Ashby,  Willimantic,  Conn. 

As  operator  and  retoucher,  have  had  five  years' 
experience  in  all  branches  of  photography.  Ad- 
dress E.  E.  Whiling,  Box  197,  Lee's  Summit,  Mo. 

By  an  operator  of  seven  years'  experience 
with  dry  plates  up  to  20  x  24.  Would  manage 
a  business.  Address  Expert,  Philadelphia 
Photographer. 


THE    PHILADELPHIA    PHOTOG  EAPHEK. 


165 


By  a  good  operator  and  retoucher.  Over 
twelve  years'  experience.  Ohio  or  the  East  pre- 
ferred. Address  Photographer,  1106  W.  Third 
Street,  Dayton,  Ohio. 

By  a  first-class  assistant  in  operating,  retouch- 
ing, and  printing.  Address  Schlickeisen,  250 
Summit  Street,  Jersey  City,  N.  J. 

By  a  first-class  operatorand  printer.  Address 
E.  Histed,  care  J.  J.  Shaw,  10  Sixth  St.,  Pitts- 
burg, Pa. 


THE   STAR   I> 


By  a  first-class  photographer  of  experience, 
to  take  charge  of  a  good  gallery  this  summer  or 
travel  for  dry  plates.  Best  reference  furnished. 
Address  C.  I.  Page,  17  East  St.,  Bochester,  N.  Y. 

By  June  1st,  a  lady  who  can  spot  and  mount, 
is  willing  to  assist  in  printing.  Address  Miss 
J.  L.  Phelps,  Box  602,  Bradford,  Pa. 

By  the  first  of  June  or  July,  to  retouch  and 
attend  reception-room,  willing  to  assist  generally. 
Address  Miss  M.  Holmes,  North  Hampton,  Mass. 


X^A^TSSS. 


3%  x  4^  size,  per  dozen,     .         .         .         .         .     $o  40 

4x5))  »  .....          60 

45(x^     »  »  68 

4lZ  x  6>£     »  »  ......           80 

5  x  7        »  »  .... 

5x8        »  »  .        .         .         . 

6%x&%     »  >i  .... 

8  x  10      »  »  .... 


1  00 
1  15 

1  53 

2  35 


10  x  12  size,  per  dozen, 

11  x  14    »  » 


17  X  20 

18  X  22 

20  x  24 


fe  35 
4  50 
6  75 
10  75 
12  00 
14  00 
18  00 


We  will  give  you  one  dozen  5x7  Star  Plates  with  your  next  order  if  you  buy  ten  dollars' 
worth  of  photo,  stock  and  mention  this  advertisement. 

BUCHANAN,  SMEDLEY  &  BROMLEY,  Sole  Philadelphia  Agents, 

No.  25  North  Seventh  Street. 
THE  PLAT1NOTTPJE,  Patented.     Send  ten  cents  for  instructions  and  sample,  portrait  or  landscape. 

WILLIS  &  CLEMENTS,  No.  25  North  Seventh  Street,  Philadelphia,  Pa. 

BUCHANAN,  SMEDLEY  &  BROMLEY, 
GENERAL   AGENTS    FOR    THE    SALE    OF    MATERIALS. 


The  PHOTOGRAPHIC  GOLORISTS'  GUIDE 

By  the  late  JOHN  L.  GIHON. 


PHOTOGRAPHIC  COLORING.— The  growing  demand  for  a  fresh  work  on 
Photographic  Coloring,  one  that  contains  full  instructions  on  all  the  new  and  improved 
methods — for,  like  Photography  itself,  Photo.  Coloring  has  improved  and  progressed — has 
led  to  the  publication  of  the  same. 

A  Tremendous  Demand  for  the  Book  continues.    Read  what  it  contains. 


Preface. 

Chap.  I.  On  India-ink  Work. 

II.  The  Principles  to  be  Considered 
in  the  Application  of  Colors. 

III.  The  Materials  used  in  Finishing 

Photographs  with  "Water  Colors. 

IV.  Water-color  Painting  as  Applied 

to  Photographs. 


Chap.  V.  Relative  to  the  Use  of  Paints  that 
are  Mixed  with  Oil. 
VI.  Coloring  with  Pastels. 
VII.  The  Production  of  Ivorytypes. 
VIII.  The  Crystal  Ivorytype. 
IX.  Crayon  Work. 

X.  Negative  Retouching. 
XI.  About  Matters  so  far  Forgotten. 
XII.  Rudimentary  Perspective. 


jgigfThe  last  chapter  is  on  a  subject  entirely  new  and  fresh,  and  is  finely  illustrated. 


Mailed  on  receipt  of  price,  $1.50  per  copy. 
EDWARD  L.  WILSON,  Photo.  Publisher,  1125  Chestnut  Street,  Philada. 


166 


THE    PHILADELPHIA    PHOTOGRAPHER. 


J&JZT  THIS  SEASON 
THE  BEST  BOOK   FOR  AMATEURS  AJVD  ALL   LS 

ROBINSON'S 

PICTORIAL  EFFECT  IN  PHOTOGRAPHY. 

Should  be  Read   by  Every  Negative  Maker  Practising 
In  and  Out  of  Doors. 

NOW  IS  THE  TIME  TO  READ  IT. 


CONTENTS. 


CHAP. 

I.  Introductory. 
II    The  Faculty  of  Artistic  Sight. 

III.  Balance  of  Lines  and  Contrast. 

IV.  Balance — Example. 

V.  Balance — Examples — {continued). 
VI.  Unity. 
VII.  Examples — Expression. 
VIII.  Practice — The  Choice  of  a  Subject. 
IX    Simple  Rules. 
X.  Figures  in  Landscape — Truth. 
XL  The  Sky. 
XII.  The  Legitimacy  of  Skies  in  Photographs. 

XIII.  The  Composition  of  the  Figure. 

XIV.  Pyramidal  Forms. 
XV.  Variety  and  Repetition. 

XVI.  Variety  and  Repetition  (continued) — Repose — 
Fitness. 


XVII.  Portraiture. 

XVIII.  Portraiture — The  Management  of  the  Sitter.  , 

XIX.  Portraiture— The  Pose. 

XX.  Portraiture — Groups — Proportion. 

XXI.  Backgrounds. 

XXII.  Accessories. 

XXIII.  Some  Old  Notions  Touching  Portraiture. 

XXIV.  Chiaro-oscuro. 

XXV.  Chiaro-oscuro — Detail  or  Definition. 

XXVI.  Chiaro-oscuro — Various    Arrangements    of 

Light  and  Shade. 

XXVII.  Chiaro-oscuro  —  Various    Arrangements    of 
Light  and  Shade  (continued). 

XXVIII.  Chiaro-oscuro — Breadth. 

XXIX.  Chiaro-oscuro — Portraiture — The  Studio. 

XXX.  Chiaro-oscuro — General  Considerations. 

XXXI.  Conclusion. 


No  one  can  study  this  excellent  work  without  being  better  able  to  pose  and 
compose  his  subjects,  and  to  light  them  more  artistically.  Those  who  are 
unskilled  comparatively,  hardly  realize  how  much  there  is  to  learn  that  is  of 
value  to  them.  This  book  will  open  their  eyes  and  enlighten  them,  if  they 
can  but  see  when  their  eyes  are  open. 

IT  IS  THE  MOST  POPULAR  PHOTO.  WORK  EVER  PUBLISHED  IN  EUROPE. 

IT  IS  THE  BOOK  "WANTED  NO  W  BY  THE  AMERICAN  PHOTOGRAPHER,  TO  POST 

HIM  ON  THE  ART  OF  PHOTOGRAPHY. 


Cloth,  $1.50;  Paper,  $1.00.    Illustrated. 
WHAT   ITS   READERS  SAY. 

"  Mr.  H.  P.  Robinson's  Pictorial  Effect  in  Photography  is  a  gem,  the  par  excellence 
of  all  photographic  books.  Its  pages  are  full  to  a  letter  of  choice  and  valuable 
instruction.  If  there  is  one  who  has  not  read  it  I  would  advise  him  to  do  so  at  once." 
— G.  F.  E.  Pearsall,  Brooklyn,  N.  Y. 

"I  would  advise  all  photographic  art  students  to  obtain  a  copy  of  Mr.  H.  P. 
Robinson's  Pictorial  Effect  in  Photography,  one  of  the  best  and  most  complete  works 
ever  published  on  the  subject  for  the  benefit  of  photographers.  Read  it  over  and 
over.     Every  page  teaches  a  grand  lesson." — James  Mullin,  Lexington,  Kentucky. 


EDWAED  L.  WILSON,  Publisher,  1125  Chestnut  St.,  Philada. 


THE   PHILADELPHIA  PHOTOGEAPHEE. 


167 


GAYTOJST  A.  DOUGLASS. 


HENRY  G.  THOMPSON. 


Douglass,  Thompson  &  Co. 

229  &  231  State  St,  Chicago,  111. 

MERCHANTS  IN  SUPPLIES  FOE  THE 

Art-Soienoe  of  Pliotograpliy 

Photographers'  Booksellers,  Stationers,  and  Newsdealers. 


CARBUTT'S 

Keystone  Dry  Plates 

AND  PHOTOGRAPHIC  SPECIALTIES. 

Specials  for  Portraiture. 

A.  for  Transparencies. 

B.  for  Landscapes  and  General  Pho- 
tography. 


OPAL    PLATES,   Gelatino-Albumen  or  Gelatino- 
Chlorides,  for  Positives  and  Transparencies. 


Multum  in  Parvo  Dry-Plate  Lantern. 

Carbutt's  Pyro.  and  Potash  Developer,  Concentrated, 
Two  8oz.  bottles  75  cents. 

Knby  Paper  and  Negative  Varnish. 


FOR  SALE  BY  ALL  DEALEES. 

JOHN  CARBUTT,  Keystone  Dry-Plate  Works, 

Wayne  Junction,  Philadelphia,  Pa. 


HODGE  &  HUSTON, 

THE  SOLAR    PRINTERS, 

622  Arch  Street,  Philadelphia. 

PERMANENT  PRINTS  BY  THE  PLATINUM  PROCESS. 
ELECTRIC  LIGHT. 


168  THE    PHILADELPHIA    PHOTOGRAPHER. 


PASSAVANT'S  DRY  PLATES 

ABE  CONCEDED  BY  TME  READING  PHOTOGRAPHERS 
OF  THE  PACIFIC  COAST  TO  BE 

THE  BEST  AND  MOST  RELIABLE  IN  THE  MARKET. 


CIP, 
HL 


Specially  for  Portraiture  and  Instantaneous  Views, 
requiring  one-half  the  time  of  other  Dry  Plates, 
working  with  great  softness  and  delicacy. 

For  ordinary  Studio  Work  and  Landscape. 


^ PRICE 

LIST. ^ 

Per  Doz. 

Per  Doz. 

Per  Doz. 

3Xx4X,      • 

.     .  SO  60 

5x8,. 

.      .    $1    75 

11x14,      . 

.     .     $6  50 

4x5,. 

.     .          90 

6^x8^,      . 

.     .     2  30 

14x17, 

.     .     12  00 

4^x6^,      . 

.     .     1   20 

8      x  10, 

.     .     3  40 

17x20,      . 

.     .     20  OO 

5x7, 

.     .     1  75 

10  x  12, 

.     .     5  00 

18x22,     . 

.     .     24  00 

Numerous  testimonials  from  all  parts  of  the  States  at  hand.     Try  them. 

Passavant's  Photographic  Dry  Plate  Factory, 

306  GUERRERO  STREET,  SAN  FRANCISCO,  CAL. 

OSTAR    FOSS,    SOLE    AGENT    FOR    THE    PACIFIC    COAST. 


OUR  SPECIALTIES. 


BROMIDE  AMMONIUM,  Chem.  Pure. 

BROMIDE  POTASS.,  Chem.  Pure. 

NITRATE  SILVER,  Chem.  Pure. 

FOR  DRY  PLATES. 

CROSS-SWORD    DRESDEN    ALBUMEN    PAPER, 
Single  and  Extra  Brilliant.    The  Best  in  the  Market. 

ALSO  A  GENEHAL  LINE  OF 

PHOTOGRAPHIC   CHEMICALS. 

A  circular,  "  How  to  Save  Waste,"  sent  on  application. 

CHAS.  COOPER  &  OO. 

194  Worth  St.,  New  York. 


THE    PHILADELPHIA    PHOTOGEAPIIEK. 


169 


720  (5  gross)  of  these  trimmers  were  sold  to  one  party  in  Jtily. 

Robinson's   dii nmnnn  \  mi  run  i mm^b  a ; 


NEW  MODEL 


PHOTOGRAPH  TRIMME 


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Jim. 

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—      ; 

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>m*«jfml? 

£ 

G 

These  invaluable  instruments  are  already  used  all  over  the  country,  and 
now,  a  change  of  form  having  permitted  an  immense  reduction  in  price, 
they  must  soon  be  UNIVERSALLY  USED  as  they  afford  a  quicker, 
better,  and  less  expensive  means  of  trimming  photographs  than  any  other. 
The  inventor  assures  photographers  that  his  trimmers  can  be  used  with 
greater  ease  when  held  as  indicated  in  the  drawings  below.  These  trim- 
mers are  now  made  entirely  of  metal,  and  in  quality  are  fully  equal  to  those 
of  the  old  model.  They  answer  for  oval,  round,  arch  top,  and  square 
work. 


Plan  of  holding   the  Straight    Cut  Trimmer 
when  in  use.    PRICE,  50   CENTS. 


Plan  of  holding  the  Revolving  Trimmer  when  in 
use.     PKICE  (with  one  card  guide)  $1.00. 


3BI  KTSOI^^S     GUIDES. 

MADE   OF   SHEET-IRON. 
We  have  the  following  Regular  Sizes  always  on  hand  at  io  cents  per  inch  the  longest  way  of 
the  aperture. 


OVALS. 


2x2| 

2£x3i 
2fx3f 
2|x3| 
21x4^ 


3fx4f 
3fx4£ 
3Jx4| 
3fx5£ 
4x5f 
44x6| 


5x7 
5£x7J- 
5Jx7£ 
5|x7f 
5|x7f 


6£  x  8J- 

6Jx8i 

7x9" 

7*x9J 

7|  x  9| 


SQUARE  OB,  ROUND  CORNERED, 

2Tx_x3t  2T\x3§  2fx4£  4x5| 

2£x3f  2^x3$  2|x4f         4£x5| 

2^x3|  2fx4£  3|x5J         3|x6 

2Ax3H  4x6^ 

FOR  STEREOGRAPHS. 

Arch  Tops.  Round  Cornered.  Round. 

3TVx3|,  3x3         3^x31,  3x3  3x3 


The  above  sizes  suit  the  Collins  Card  Mounts,  and  photographers  knowing  that  they  can  be 
always  had  at  the  low  price  of  ten  cents  per  inch,  would  do  well  to  make  their  sizes  accord,  as 
orders  can  also  be  filled  more  quickly.     Ten  days  are  required  to  make  special  sizes. 

Special  Sizes  made  to  order,  at  15  cents  per  inch,  the  longest  way  of  the  aperture. 

ROBINSON'S  PHOTOGRAPH  TRIMMERS  are  substitutes  for  the  Knife  for  Trimming 

Photographs,  and  do  the  work  much  more  expeditiously  and  elegantly. 

They  Save  Time,  Save  Prints,  and  Save  Money. 

They  do  not  cut,  but  pinch  off  the  waste  paper,  and  leave  the  print  with  a  neatly  beveled  edge 
which  facilitates  adherence  to  the  mount.  Try  one,  and  you  will  discard  the  knife  and  punch  at 
once.     For  ovals  and  rounded  corners  they  are  worth  their  weight  in  gold. 

filDSeiieSs7  EDWARD  L.  WILSON,  Manufacturer's  Agent,  1125  Chestnut  St.,  Philada. 

4 


170  THE    PHILADELPHIA    PHOTOGEAPHEK. 

REMOVAL   NOTICeT 

"THE  MOUND  CITY" 

PHOTOGRAPHIC  STOCK  HOUSE 

Have  Removed  to  their  New  and  Elegant  Building, 

Cor.  Eighth  and  Locust  Streets, 

OPPOSITE  NEW  CUSTOM  HOUSE  AND  POST  OFFICE. 

Where  they  have  better  facilities,  more  and  pleasanter  rooms,  and  are  better 
prepared  than  ever  before  for  supplying  the  wants  of  their  customers. 

SEND  ALONG  YOUR  ORDERS. 

Address 

H.  A.  HYATT, 

Eighth  and  Locust  Sts.,  St.  Louis,  Mo. 

Send  for  Illustrated    Catalogues  and  Price  List  of   Photographic   Goods  and 
Picture  Frames. 

ALBERT  MOORE  «  SOLAR  ENLARGER, 

THE  LONGEST,  LARGEST,  AND  BEST. 

828  Wood  Street,  Philadelphia. 

PHOTOGRAPHISCBE  MITTHEILUNGEN. 


We  are  now  prepared  to  receive  subscriptions  for  Dr.  Hermann  W.  Vogel's  magazine  bearing 
the  above  title. 

The  MITTHEILUNGEN  is  published  in  German  and  is  issued  semi-monthly  at  $3.00  per  year, 
postage  paid.  To  all  of  our  German  photographers  and  many  others  this  will  be  considered  a 
desirable  opportunity. 

The  Magazine  is  published  at  Berlin.     Subscriptions  received  by 

EDWARD    L.   WILSON, 

1125  Chestnut  Street,  Philadelphia,  Pa. 


THE    PHILADELPHIA    PHOTOGRAPHER. 


171 


WILSON'S  PHOTOGRAPHIC 


<\( 


->*7I  fWFIgE  6N  EYEl^Y  B^fiCP  0E  Pfl@¥0GWPY.3N- 


THE  PHILADELPHIA  PHOTOGRAPHER. 

A  monthly  Magazine,  illustrated  by  pho- 
tographs of  superior  merit.  $5.00  a  year ; 
$2.50  for  six  months. 

Stands  ahead  of  all  its  kindred.  Eighteen  years  of 
success  is  a  sufficient  guarantee  of  its  value  and  use  to 
the  practical,  working,  growing  photographer.  Do  not 
go  without  its  valuable  help. 


WILSON'S  PHOTOGRAPHICS 

THE  NEWEST  AND    MOST   COMPLETE 

PHOTOGRAPHIC   LESSON-BOOK. 

Covers  Every  Department. 

352  Pages.    Finely  Illustrated.     Only  $4.00. 

By  Edwaed  L.  Wilson. 


WILSON'S  LANTERN  JOURNEYS. 

By  Edward  L.  "Wilson.     In  Three  Vols. 
Price,  $2.00  per  vol. 

For  the  lantern  exhibitor.  Gives  incidents  and  facts 
in  entertaining  style  of  about  2000  places  and  things, 
including  200  of  the  Centennial  Exhibition. 


THE  PROGRESS  OF  PHOTOGRAPHY 

SINCE   1879. 

By  Dr.  H.  Vogel.     Price,  $3.00. 
Issued  July  15th,  1883.    A  splendid  work. 


BIGELOW'S  ARTISTIC  PHOTOGRAPHY. 

Price  reduced  to  $4.00. 

For  the  lover  of  art.  Beats  his  "  Album  of  Lighting 
and  posing."  Superb  !  With  twelve  photographs  and 
instructions. 


THE  FERROTYPER'S  GUIDE. 

Price,  75  cents. 

Cheap  and  complete.     For  the  Ferrotyper,  this  is  the 
only  standard  work.     Seventh  thousand. 


STUDIES  IN  ARTISTIC  PRINTING. 

By  O.  W.  Hearn.     Price,  $3.50. 

Embellished  witn   six  fine  cabinet  and  promenade 
portrait  studies. 


PICTORIAL  EFFECT  IN  PHOTOGRAPHY. 

By  H.  P.  Kobinson.  .   For  the  Art  Photog- 
rapher.   Cloth,  $1.50.    Paper  cover,  $1.00. 


THE 
PHOTOGRAPHIC  C0L0RISTS'  GUIDE. 

By  John  L.  Gihon.     Cloth  bound,  $1.50. 

The  newest  and  best  work  on  painting  photographs. 


PHOTOGRAPHIC  MOSAICS,  1885. 

Cloth  bound,  $1.00 ;  paper  cover,  50  cents. 
Back  volumess.  same  price. 

Better  than  any  of  its  predecessors. 


COPIES  MAILED  POST-PAID  ON  RECEIPT  OF.  PRICE. 

EDWARD  L.  WILSON, 


Photo.  Publisher. 


1125  Chestnut  St.,  Phila. 


L72 


THE    PHILADELPHIA    PHOTOGRAPHER. 


W 


tofflAP^ 


\*> 


THIS  FAVORITE  ANNUAL  NOW  READT. 

144  PAGES.— 50  CENTS;   CLOTH  COVER,  $1.00—144  PAGES. 


CONTENTS. 


A  Pot  Pouri  of  the  Past. 

Bits  of  Experience.     Geo.  H   Croughton,  Phila. 

How  Rapid  are   Dry  Plates?      H.   D.   Garrison, 

Chicago. 
The   Photographic    Dude.      J.    Pitcher    Spooner, 

Stockton,  Cal. 
My  Developer.     Wm.  McComb,  Muskegon,  Mich 
A  Hint  for  the  New  Year.     Marcus   H     Rogers, 

N.  Brimfield,  Mass. 
Energy.     R.  E.  Wood,  St.  Helena,  Cal. 
A  Rapid  Emulsion.     Geo.  Sperry,  Evansville,  Tnd. 
Amateur  Photography  a  Teacher.     A.   Bogardus, 

New  York. 
A  Few  Photographic  Hints.     H    K.  Seybold. 
Photographic  Experiences.     Dr.  G.  F.  H  Bartlett, 

Buffalo,  N.  Y. 
Something  Not  Necessarily  Dry.    Chas   E.Emery, 

Silver  Cliff,  Col. 
Elevate  Ourselves   First.      J.  C.  Moulton,  Fitch- 
burg,  Mass. 
Photo  -Hash.     J.  A.  Sheriff,  San  Diego,  Cal. 
Weak  or  Strong  Development.    Dr.  H.  Sturenberg. 
.  How  to  Develop  Landscapes  upon  Dry  Plates,  or 
a   Method  of  Testing   Plates   whose   Time   of 
Exposure  is  Unknown.     Dr   H.  W   Vogel 
.   How   to    Make    Home-made    Retouching    Lead. 

Chas.  Latham,  Bradford,  Pa. 
.  Something  About  Blisters.     B.  T.  Rice,  Frankfort, 

Kansas. 
.  How    to    Number    Negatives.       H.    S.    Stevens, 
Kecne,  N.  H. 
A  Few   Things  to   Save   Money.     H.  G.  Parcell, 
Kingsville,  Mo 
.  An  Amateur's   Views  on  Prices.     W.  R.  Trippe, 

Goshen,  N.  Y. 
.  How  I    Got   White   Streaks   on   my   Stereoscopic 

Negatives.     J.  J.  Eskill,  Florence,  Wis. 
.  Practical      E   E.  Van  Epps,  Hanover,  Kansas 
.  How  I  Clean  Varnished  Films  from  Old  Negatives. 

E.  D.  Ritton,  Danbury,  Conn. 
.  A  Good  Copying  Paper.     Dr.  Stevenberg. 
.  A    Few    Notes    for    Mosaics.     Will   A.   Triplett, 
Bluffton,  O. 


27.  The  Lesson  to  Learn.      M.  H.  Albee,  Marlboro, 

Mass. 

28.  To    Know    How.      S.    P.  Tressler,    Fort    Scott, 

Kansas. 

29.  Whither  are  we  Drifting?     H.  B.  Hillyer,  Austin, 

Texas. 

30.  The  Best  Dry  Plate  Developer.   Dry  Plate  Maker. 

31.  The    Cincinnati    Convention.     Chas.    T.    Stuart, 

Hartford,  Conn 

32.  Home-made   Dry    Plates.     Jay  Densmore,  Niles, 

Mich 

33.  Practical,    Pointed,    and   Clear.     John  D.  Miller, 

Elizabethtown,  Pa. 

34.  A  Very   Convenient   Washing   Box      Mrs.  E.  N. 

Lockwood,  Ripon,  Wis 

35.  On  the  Reduction  of  Negatives.     H.  K   Seybold. 

36.  A  Warning.     Henry  Piatt,  Nantucket,  Mass 

37.  Slow  Development — a  Word  to  Beginners.     Alfred 

Ganze. 

38.  Home-made  Plates.     Ranald  Douglass,  E.  Gardi- 

ner, Mass. 

39.  A  Cleaning  Solution  for  Gelatine  Negatives  and 

Positives.     R   G   Weiss. 

40.  Gleanings  From  my    Last  Year's   Reading.     Old 

Gray-beard. 

41.  An   Automatic  Washing   Tank.     Geo.    W.  Leas, 

Peru,  Ind. 

42.  Smoked  Negatives.    W.  H.  Sherman,  Milwaukee, 

Wis 

43.  Hints  to  Amateurs.  Xanthus  Smith,  Philada.,  Pa 

44.  A  Workman's  Idea.     H.  S.  Keller,  Utica,  N.  Y. 
t$.  About  Prices.     John  C    Patrick,  Batavia,  N.  Y. 

46.  Exposure      Ellerslie  Wallace,  M.D.,  Philada. 

47.  On  the  Delectable  Dry.     Wm.  H.  Rau,  Philada. 

48.  Photography  in  its  Relation  to  Art.  John  Bartlett, 

Philada. 

49.  The  Attractive  Properties  of  a  Photograph      C.  M. 

French,  Garrettsville,  O. 

50.  A  New   Method   of  Developing   Dry  Plates.     D. 

Bachrach,  Jr.,  Balto   Md. 

51.  Our  Way   is   our   Hobby.     Miss  H.  H.  Flanagin, 

Woodstown,  N.  J. 

52.  "Nothing  to  Say."     J.  H.  Hallenbeck,  N.  Y. 


EDWARD  L.  WILSON,  Photo.  Publisher,  No.  1125  Chestnut  Street,  Philada. 

FOE  SALE  BY  ALL  DEALERS. 


THE  PHILADELPHIA  PHOTOGEAPHEE. 


173 


SOOVILL'S 

NEGATIVE  WASHING  BOXES. 


GUARANTEED  NOT  TO  RUST. 

It  is  necessary  at  a  certain  stage  of  development  to  remove  from  photographic  nega- 
tives all  traces  of  Hyposulphite  of  Soda,  and  it  is  not  generally  convenient  to  place  them 
where  water  will  flow  over  their  surface  a  sufficient  length  of  time  to  accomplish  this  effec- 
tually, without  injury  to  the  sensitive  film.  To  watch  the  plate  is  to  waste  time.  The 
flow  over  it  should  be  with  gentle  force.  This  can  best  be  regulated,  and  a  thorough 
cleansing  from  Hyposulphite  of  Soda  of  every  portion  of  the  negative  be  assured,  by  the 
employment  of  one  of  the  Negative  Washing  Boxes  above  pictured.  Plates  are  simply 
slid  into  the  grooves,  a  guarantee  that  the  film  will  not  be  disturbed  or  marred;  a  bit  of 
hose  is  slipped  over  a  tap,  and  then  at  the  other  end  over  the  spout  on  the  box.  If  need 
be,  another  section  of  rubber  tubing  is  used  to  carry  off  the  waste  water  to  an  outlet. 
After  this  simple  preparation  the  Washing  Box  is  in  readiness  for  service. 


ppTpip    T   T  Q  m 

c— %         sr  xtlOJii    Lib  1 

~gT-? 

No.  1, 

for  3|  x    4\  Plates,  . 

.    $1   20 

"   2, 

"4x5          "        . 

1  25 

"   3, 

"    4-1- x    5}        "        . 

1  30 

"  4, 

"    4|x    6|        " 

1  35 

"   5, 

"5x7          "        . 

1  40 

"  6, 

"5x8          " 

1  50 

"  7, 

"    6£x    8J 

1  75 

"   8, 

"    8    xlO          " 

2  25 

LARGER  SIZES  MADE  TO  ORDER. 
Painted  Negative  Washing  Booces,  4  O  cts.  additional  for  each  size. 

Oloth  Rubber  Rose  Supplied  for  the  above  Boxes  at  28  cts.  Per  Foot. 
SCOVILL  MANUFACTURING  CO. 


174 


THE    PHILADELPHIA    PHOTOGEAPHEP. 


A  SPLENDID  THINK  FOR  PHOTOGRAPHERS. 

-A.     METALLIC 

PROTECTING    CASE, 

With  Glass  Bottle  and  Graduate  Tumbler,  for  Photo.  Developer 
and  other  Solutions. 

Those  who  have  worked  in  the 
field  have  wished  very  often  for  some 
safe  method  of  carrying  with  them 
iheir  developer  and  other  chemicals  in 
solution.  A  most  useful  article  is  in 
the  market  which  answers  the  purpose. 
We  allude  to  the  patent  metallic  pro- 
tecting cases  invented  for  similar  pur- 
poses. The  bottles  may  be  of  ordinary 
shape  so  they  fit  the  metal  case,  which 
latter  is  drawn  from  solid  metal,  with 
a  locking  ring  on  each  case  to  afford 
perfect  protection  for  the  bottles  con- 
taining the  liquids  which  are  trusted 
to  their  care.  They  are  made  of  dif- 
ferent sizes  :  bottles  of  one,  two,  four, 
and  eight  ounce  mixtures,  and  each 
case  is  made  adjustable  to  bottles  of 
different  lengths.  They  are  made  very 
light,  and  the  corrugation  makes  them 
so  strong  as  to  resist  crushing.  They 
can  be  packed  in  any  position.  The 
metal  is  drawn  of  even  thickness 
throughout,  by  machinery  which  has 
the  weight  of  thirty  thousand  pounds. 

The  first  figure  represents  the  case 
closed,  and  the  second  open  with  the 
bottle  therein.  The  use  of  this  arrange- 
ment assures  the  photographer  that  he 
has  a  safely  kept  stock  on  hand  of  any 
needful  solution. 

e* — + PRICE   LIST. ■*• — ^ 

No     1  Diameter,  \y%  in.     Length,  3%  in.    Weight,  l1/,  oz.    Furnished  with  1  ox. 

11U.   1.     bottle,  each,     .  .         .  .        .  $0  50 

NO     f?    A  Diameter,  3  in.     Length,  51/   in.    Weight,  tyA   ox.    Furnished  with 

liv.   ua,     4  oi.  bottle,  with  tumbler,  making  ■%  pint  flask,  each, O  85 

NO     4    A  Diameter,  %y    in.    Length,   7  in.     Weight,  14   oz.    Furnished  with 

xiv.   -x  a.     8  oz.  bottle,  with  tumbler,  making  y2  pint  flask,  each, 110 

NO     13    A  Diameter,  fi%   in.     Length,  6  in.    Weight,  17  oz.    Furnished  with 

1.1  w.   IU   n.     8  oz.  bottle,  with  tumbler,  making  y2  pint  flask,  each,  .130 


«^TRY    THEM.      NO    MORE    LEAK    OR   BREAK 

SCOVILL  MANUFACTURING  CO, 


W.  Irving  Adams,  Agent. 


423  Broome  Street,  New  York. 


THE    PHILADELPHIA    PHOTOGRAPHER. 


175 


C3r.   C^ESKTTSrESOFLT, 

No.  54  East  Tenth  Street,  New  York. 


SOLE  IMPORTER  OP 


C.  BOHMKE  &  C0.'S  IMPROVED  APLANATS. 

THE  BEST  LENSES  FOR  PORTRAIT,  RAPID  LANDSCAPES 
AND  GROUPS  YET  INTRODUCED. 


Mr.  Bohmke,  who  has  been  superintending  foreman  for  Voigtlander  &  Son  for  25 
years,  has  lately  brought  out  the  above  designated  instrument,  which  is  in  every 
respect  equal,  if  not  superior,  to  the  "Euryscope,"  combining  a  large  field,  perfect 
definition  and  brilliant  illumination  in  the  highest  possible  degree. 


i00&  f.  maoee  &  OQ 


MANUFACTURERS  OF   PURE 


Photographic  Chemicals, 

Jio.  622  Pace  Street,  Philadelphia. 


The  Standard  Quality  and  Purity  of  our  Chemicals  make  them  the  most 
desirable  and  reliable  for  photographic  use. 


--fe+STOCKDEALERS   ONLY  SUPPLIED.* 


PPFIJTOS  of  GOpp  and  Sipvpp  WASTp. 

Waste  sent  through  Stockdealers  will  receive  prompt  attention. 


176  THE    PHILADELPHIA    PHOTOGRAPHER. 


A    GREAT  SUCCESS! 

THE 

NEW  DRESDEN  ALBUMEN 


THREE  CROWN  PAPER. 


trS^^ 


DRESDEN  ALBUMEN  PAPER 


tfSdeMj^ 


For  Sale  by  all  Photo.  Stockcfea/ers. 
SGOVILL  MANUFACTURING  CO., 

NEW  YORK. 


THE    PHILADELPHIA    PHOTOGRAPHER. 


177 


On  and  after  March  1st,  I  will  make  the  following  Reduction : 


3^x4X 

4  x5 

4X*6^ 

5  x7 


.       $    50 

5      x8 

.      $1  45 

14x17 

75 

Q%  x8% 

1   90 

16x20 

85 

8      x  lO 

2  80 

17x20 

1  05 

10  x  12 

4  50 

18x22 

1  30 

11   x  14 

5  85 

20  x  24 

&10  50 

14  50 

15  25 
18  00 
21   50 


CRAMER'S  LIGHTNING  PLATES. 


TO  MEET  THE  DEMAND  FOR 

An  Extremely  Rapid  Plate 

I  am  now  making  the  above  new  brand  (blue  label),  which  is  about  twice  as  rapid 
as  my  "Extra  Rapid"  and  nearly 

TWENTY  TIMES  MORE  RAPID  THAN  COLLODION. 


THIS  NEW  PLATE  COMBINES 

EXTREME  RAPIDITY, 

FINE  CHEMICAL  EFFECT, 

PERFECT  CLEARNESS, 

GOOD  INTENSITY, 

EASY  TO  DEVELOP, 

And    CANNOT    BE    EXCELLED. 


For  all  cases  where  Extraordinary  Rapidity  is  desirable  and  for  Large 
Work  these  "Lightning  Plates"  will,  upon  trial,  prove  their  superiority  over 
all  others. 

My  regular  brand,  the  "Extra  Rapid"  (yellow  label),  which  is  so  well 
known  and  sufficiently  sensitive  for  general  use,  will  be  kept  up  to  its  usual  high 
standard. 

BOTH  BRANDS  SAME  PRICE. 

WILL    BE    FOR    SALE    BY    ALL    DEALERS. 


DRY-PLATE  WORKS,  ST.  LOUIS,  MO. 


178  THE    PHILADELPHIA    PHOTOGEAPHEE. 


GIHON'S 

CUT-OUTS 

An  Entirely  New  Variety  for 

Printing  Medallion  Pictures. 


Are  the  very  best  that  are  made,  and  are  now  without  a  rival  in  the  market.  They  are  clean 
cut,  most  desirable  shapes  and  sizes,  and  made  of  non-actinic  paper,  manufactured  specially  for  the 
purpose.  Each  package  contains  30  Cut-Outs,  or  Masks,  with  corresponding  Insides,  assorted  for 
five  differently  sized  ovals  and  one  arch-top. 

Price,  $1.00  per  Package.    Sent  by  mail  on  receipt  of  price. 

Parties  wishing  special  sizes,  or  large  lots  of  a  few  sizes,  may  have  them  cut  to  order  promptly, 
by  addressing  the  manufacturer.      No  lot  costing  less  than  $1.00  made  at  a  time. 
^SlP'No  printer  should  attempt  to  make  Medallion  Pictures  without  them. 

They  Have  no  Equal  for  Quality. 

Beware  of  spurious  imitations  made  of  common  paper,  full  of  holes,  badly  cut,  and  odd  shapes  and 
sizes.  Ask  your  Stock-dealer  for  GIHON'S  CUT-OUTS,  and  see  that  they  are  in  his  envelope,  with 
instruction  circular  included.  The  recent  packages  are  composed  of  an  entirely  new  variety  and  ot  a 
new  paper.     TRY  THEM. 

Promenade  Size  now  Ready.        Sold  Separately  at  50  cents  per  Dozen. 


GIHON'S  OPAQUE 

Is  designed,  for  Completely  obscuring  the  Imperfect  Backgrounds  of  Copies,  Retouching  Nega- 
tives, Faulty  Skies  in  Landscapes,  Coating  the  Inside  of  Lenses  or  Camera  Boxes, 
Backing  Solar  Negatives,  Covering  Vignetting  Boards, 
And  for  Answering  all  the  Requirements  of  the  Intelligent  Photographer  in  the  Production 

of  Artistic  Results  in  Printing. 

Wherever  you  want  to  keep  out  Light,  use  Opaque. 

IT  IS  APPLIED  WITH  A  BRUSH,  DRIES  dUICKLY  AND  STICKS. 


CUT-OUTS  (thirty),  $1.00.         OPAQUE,  SO  Cents. 

FOR  SALE  BY  ALL  DEALERS. 


Addie^  all  orders  to 

SCOVILL  MANUFACTURING  CO.,  New  York. 


THE    PHILADELPHIA    PHOTOGKAPHEK.  179 

^    DRESD^ 

EXTRA  glhg  BRILLIANT 


% 


4^l/MEN  PA?** 


Ever  Offered  to  Photographers. 

WHITE,  PINK,  PENSE. 


FREE  FROM  BLISTERS  AND  IMPERFECTIONS. 


A  NEW  PAPER.    NOW  READY. 

EAGLE  SATIN  FINISH, 

IN  PENSE  AND  PEARL. 

Although  my  importations  of  paper  have  had  a  most  satisfactory  sale,  and  the  old  favorite 
brands  will  be  continued  in  the  market  of  the  same  quality,  I  have  a  New  Brand,  which  I  offer 
for  public  favor  which  I  believe  to  be  SOMETHING  SUPERIOR. 

^$36.00  A  REAM.^*       «®~A  REAM  $36.00."®* 

FOB  SALE  BY  ALL  DEALEBS. 

IMPORTED  BY 

G.  GENNERT, 

54  B.  TENTH  ST.,  NEW  TORE. 

FOR   SALE    BY    ALL   DEALERS. 


EASTERN  AGENT  FOR  THE  CRAMER  DRY-PLATES. 


180  THE    PHILADELPHIA    PHOTOGEAPHEE. 

A.  M.  Collins,  Son  &  Co. 

MANUFACTURE  ALL    KINDS   OF 

CARDS  AND   CARDBOARDS 

FOR 

PhotographerR 


AND 


MATS.  MOUNTS.  AND  EPELOPES 


'J 

FOR 


FERROTYPES. 


OFFICE  AND  WAREHOUSE, 

No.  527  ARCH  STREET, 

PHILADELPHIA. 


Price  Lists  may  be  had  by  intending  purchasers  on  application 

to  us,  or  to  all  Photographic  Merchants,  through  whom 

your  favors  are  respectfully  solicited. 


THE    PHILADELPHIA    PHOTOGEAPHER. 


181 


T 


Y     THEM! 


WATMOUTH'S  VIGNETTE  PAPERS. 


No.  15^, 

THE 

Ormsby  Pattern, 

PEAR  SHAPE 

Now  Ready, 

$1.00  PER  DOZ. 


They  are  not  clumsy  ;  do  not 
break;  are  always  ready ;  cost 
but  little,  and  are  easy  of  appli- 
cation to  any  negative.  They 
need  but  one  adjustment  to  print 
any  quantity.  They  entirely 
do  away  with  all  the  old  and 
troublesome  methods,  either 
wood,  metal,  or  cotton. 


19  Sizes 


ARE 


Now  Made 

PEAR  SHAPE. 

Prices  Below. 

SEE  TESTIMONIALS. 


They  are  printed  in  black 
for  ordinary  negatives,  yellow 
bronze  for  thin  negatives,  and 
red  bronze  for  still  weaker  ones. 
Directions  for  use  accompany 
each  parcel. 


SEE  WHAT  THOSE  WHO  USE  THEM  SAY. 

-The  Vignette  Papers  are  just  the  thing.  They  are  a  great  improvement,  and  will  print 
in  little  more  than  half  the  time  required  for  others.  The  results  are  everything  that  can 
be  desired,  as  you  can  see  by  samples  inclosed.  E.  D.  ORMSBY,  San  Francisco. 

FROM  PROFESSIONAL  AMD  AMATEUR  PHOTOGRAPHERS. 

"  First-class." — "  The  sample  sent  answers  perfectly." — "  I  consider  them  first-rate  articles." — "  They  answer  the 
purpose  admirably." — "  They  are  the  best  vignettes  I  have  ever  had,  and  as  you  can  print  in  I  nil  sunlight,  they  are  a 
great  saving  of  time." — "  They  could  not  be  better,  oblige  me  with  another  packet." — "  I  find  them  excellent,  giving 
much  softer  pictures  than  the  old  way." — "I  have  tried  one  of  the  Vignette  Papers,  an!  hke  it  much;  send  me 
packets  two  and  three." — "I  am  much  pleased  with  them,  and  shall  thank  you  to  send  me  anotner  packet." — "I  did 
not  need  any  copies  of  testimonials,  having  well  known  by  experience  that  your  Vignette  Papers  were  superior  to 
anything  I  have  ever  used." — "  I  found  those  you  sent  before  excellent." — "  Vignetting  Papers  received  and  tested  ; 
can't  be  beat.     I  use  by  cutting  an  opening  in  a  piece  of 


for  printing  vignettes  in  the  very  best  manner 
have  been  wanting  for  years." 


card-board  and  tacking  to  the  printing-frame,  when  I  am  ready 
"  Waymouth  Vignette  Papers  I  have  tried,  and  they  are  just  what  1 


THOSE  WHO  SELL  THEM! 


ALL  STOCK-DEALERS 


INCREASE 
THEIR 


ORDERS  LARGELY 


EVERY 
MONTH 


Better  than  any  patent  machine— trouble,  and  sell  better  every  month. 

PRICES: 

In  parcels  containing  one  dozen,  assorted,  from  Nos.  1  to  5 $0  50 

In  parcels  containing  one  of  each  size,  Nos.  1  to  15,  assorted  colors 1  00 

Assorted  sizes  and  colors,  by  number,  per  package  of  15 1  00 

Nos.  1,  2,  3,  4,  and  5,  assorted  sizes  and  colors,  for  Cartes,  by  number,  per  doz 50 

»     6,  7,  11,  12,  and  13,     »          »                  »       Large  Cartes  and  Victorias  by  number,  per  doz 75 

»     8,  9,  10,  14,  15,  and  15%,  assorted  sizes  and  colors,  Cabinets  and  Whole-size,  by  number,  per  doz 1  00 

»     16.  17,18,                                ,,                 „             „       Half           ..               »                     »               »»       125 

When  ordering,  state  the  number  and  color  you  want. 

EDWARD  L.  WILSON,  Manufacturer,  1125  Chestnut  St.,  Philad'a. 

FOR  SALE  BY  ALL  DEALERS. 

No.  18,  PEAR  SHAPE,  LAST  INTRODUCED,  $1.25. 


182  THE    PHILADELPHIA    PHOTOGRAPHER. 

HANCE'S 

SPECIAL 


SPECIALTIES. 

I  Anderson's  Portrait  Collodion, 
This  is  especially  a  Winter  Collodion,  and  guaranteed  to  work  with  the  loveliest  har- 
mony, and  the  most  exquisite  softness,  and  freedom  from  all  the  winter  troubles 
which  Photographic  Collodion  is  heir  to.     fi^°  None  genuine  unless  the  signature  of  Elbert 
Anderson,  the  great  dark-room  operator,  author,  etc.,  is  pasted  over  tne  cork  of  the  bottle. 

II 


Ground  Glass  Substitute. 


Is  an  indispensable  article  in  the  photographic  gallery.     There  are  so  many  uses 
to  which  it  can  be  applied  that  a  photographer  having  once  given  it  a  trial,  will 

never  be  without  it,  as  there  is  nothing  known  that  will  take  its  place. 

The  substitute  is  in  the  form  of  a  varnish,  is  flowed  and  dried  the  same  as  varnish,  but 

dries  with  a  granulated  or  ground-glass  surface. 

For  Vignette  Glasses. 


For  Ground  Glass  for  Cameras. 
"    Glazing  Sky  and  Side  Lights. 
"     Obscuring  Studio  and  Office  Doors. 
"    Printing  Weak  Negatives. 

All  imitators  have  given  it  up.     They  can't  make  it.     GIVE  IT  A  TKIAL. 

PRICE,  50  CENTS  PER  BOTTLE. 


"    a  Retouching  Varnish. 

"    Softening  Strong  Negatives. 

"    the  Celebrated  Berlin  Process. 


Ill 


Hance's  Delicate  Cream  Gun 

Cotton  Is  the  King  Cotton,  and  has  no  peer. 


Prepared  with  particular  care,  warranted  free  from  acid,  and  very  soluble.  It  has  made 
its  way  steadily  and  surely  into  most  of  the  principal  galleries  in  the  country,  where  parties 
prefer  to  make  their  own  collodion,  and  its  superior  qualities  are  shown  in  the  medals 
awarded  at  the  Centennial,  Vienna,  and  Paris  Exhibitions  for  photographs  made  with  col- 
lodion in  which  it  was  used. 

It  is  especially  adapted  to  the  Kembrandt  style,  and  light  drapery.  Its  sensitiveness 
renders  it  particularly  adapted  for  children  or  any  work  that  requires  short  exposure,  though 
admirable  as  well  for  all  work. 

PRICE,  80  CENTS  PER  OUNCE. 

Also,  TRASK'S  FERROTYPE )  (1  07  10111010 
HANCE'S  DOUBLE  IODIZED  jIlUljllUJJlUll 

PRICE,  $1.50  PER  POUND. 

FOE  SALE  BY  ALL  ST0CK-DEALEKS.  NO  RETAIL  ORDERS  FILLED.  ORDER  OF  YOUR  DEALER 

SCOVILL  MFG.  CO.,  TRADE  AGENTS,  NEW  YORK. 


THE    PHILADELPHIA    PHOTOGEAPHEE.  183 

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184 


THE    PHILADELPHIA    PHOTOGRAPH  R  R. 


JOHN  G.  HOOD. 


ESTABLISHED    1865. 


TO.  D.  H.  WILSON. 


>>J  V  *^  825  Arch  Street,  V^  Q 

PHILADELPHIA, 

SOLE  AGENTS  IN  THE  UNITED  STATES  FOR  THE 


Centennial,  1876. 


Centennial,  1876. 


Ross'  Portrait  and  View  Lenses. 


TK7T71    TT  A  TTT?  f   Portrait  Lenses,  from  1-4  to  8  x  10. 
W  Hi    njx  V  .Ci         Cabinet  Lenses,  Nos.  3  and  3. 

NOTJST  "i    Card.  Lenses,  Nos.  1,  3,  and  3. 
tnt  orrv-w-rc  Triplets,  Nos.  1,  3,  3,  4,  5,  6,  and  7. 

IN   STOCK.  [  Symmetrical.    Rapid  S ymmetricals. 


Instantaneous  Doublets,  all  sizes. 
Medium  Angle  Doublets,  all  sizes. 
Large  Angle  Doublets,  all  sizes. 
Stereographic  Lenses,  all  sizes. 
New  Universal  Lens. 


Numerous  testimonials  pronounce  them  to  be  the  best  as  well  as  the  cheapest  Foreign  Lenses  ever 
offered  to  the  American  Photographer.    We  will  mail  price  list  on  application,  and  promptly  fill  all  orders. 


Steinheil's  Sons' 


-»EEW»- 
APLANATIC 


Lenses. 


No.  1 —  1-4  size, Z%  inch,  focus, 

»    3— 1-3      »       5-%       »  » 

»    3 — 4-4      »       7  »  » 


We  now  have  a  full  stock  of  these  Celebrated  Lenses,  at  the  following  prices  : 

$35  00       No.  4—  8x10  size,...  1.0#  inch  focus,. ..$60  00 

30  00  »    5—10x13      »      ...13%       »  »     70  00 

45  00  »    6—13x16      »      ...16^       »  »     ....110  00 

Nos.  1  and  3  are  in  matched  pairs  for  stereoscopic  work. 

We  feel  sure  that  at  least  one  of  these  lenses  is  needful  for  the  successful  prosecution  of  your  busi- 
ness, and  so  solicit  your  orders.  Always  in  stock,  to  suit  above  Lenses,  CAMERA  BOXES  made  by 
AMERICAN  OPTICAL  CO.,  SEMMENDINGER,  ANTHONY,  BLAIR,  etc. 

WE  KEEP  IN"  STOCK  FULL  ASSORTMENT  OF 

AMATEUE  PHOTO.  OUTFITS 

DRY    PLATES    OF   ALL    MAKES. 

N.  P.  A.  EAGLE  and  S.  &  M.  PAPEE,  PER  REAM,  $30.00, 

Any  article  needed  we  can  supply,  as 
WE  MANUFACTURE,  IMPORT,  AND  DEAL  IN  ALL  KINDS  OF 

Photo.  Goods,  Frames,  Stereoscopes  and  Views, 

At  prices  as  low  as  are  consistent  with  the  quality  of  goods  furnished.  We  are  indebted  to  our 
customers  for  the  patronage  during  the  past  Nineteen  Years,  and  our  efforts  shall  be  to  merit  a  con- 
tinuance of  it. 

Illustrated  Price  Lists  supplied  free.    Correspondence  solicited. 


OF  AGE  I 


Twenty-one   years   of  service   as   a    Photographic    Magazine 
having    been    fully    completed    by    The    Philadelphia 
Photot/ raphnr,  it  can  now  fully  claim  to  he 
"OF  AGE." 

It  was  born  when  our  art  was  itself  only  a  stripling,  ami  having  grown  up  with  it  and  lived  for 
it,  now  comes  with  confidence  to  the  craft  for  support  during  its  Twenty-second  year. 

Under  the  same  editorial  care  which  gave  it  birth  and  name,  it  will  continue  its  good  work  in 
the  interests  of  the  art  of  Photography,  with  brighter  prospects  of  usefulness  and  success  than  ever 
before.  In- looking  back-  upon  its  past  record,  the  editor  and  publisher  thinks  he  has  won  the 
right  to  claim 

TWELVE  EEASONS  WHY  "THE  PHILADELPHIA  PHOTOGRAPHER"  SHOULD  HAVE  THE 
PATRONAGE  OF  ALL  LOVERS  OF  OUR  ART,  AS  FOLLOWS : 

I.  The  photographic  studies  issued  with  each  number  are  a  great  help  to  workers  under  the 
skylight,  and  well  worth  the  price  asked  for  the  whole  magazine.  Over  forty  of  these  studies 
were  supplied  last  year,  and  some  fine  gems  are  preparing  for  1885. 

2  The  editor  having  been  connected  with  the  art  for  over  one-half  of  its  existence,  is  wholly  in 
sympathy  with  the  working  craft,  and  well-knows  their  wants  to  supply  them. 

3.  Its  ability  to  anticipate  the  wants  of  the  craft  is  secured  by  its  connection  with  the  practical 
men  of  our  art  all  over  the  world;  and  the  same  long' connection  creates  a  ready  means  of 
obtaining  promptly  all  that  is  needed. 

4.  Its  enterprise  in  taking  up  and  making  popular  and  easy  all  good  processes  and  measures  is 
proverbial. 

5.  Its  war  upon  low  prices,  and  its  endeavors  to  lift  up  the  fraternity  to  better  ones,  as  well  as 
its  usefulness  in  winning  the  press  and  the  public  to  a  better  appreciation  of  our  art,  are  well  known 
to  all. 

6.  It  has  always  been  quick  in  discovering  and  exposing  frauds,  humbugs,  and  attempts  to  injure 
its  patrons.     It  is  operated  for  the  good  of  its  patrons. 

7.  Its  long  standing  as  an  authority  in  our  art,  has  won  it  connection  with  scientists  and  scientific 
bodies  all  over  the  world,  who  send  their  new  things  to  its  editor  first,  over  all  of  its  class. 

8.  Its  circulation  is  International  There  is  not  a  land  where  English  is  read  that  it  does  not  go 
to.     It  also  circulates  in  every  State  in  the  Union,  about  as  follows : 

New  England,         .        .    31.5  per  cent.  Western  States,      .  34. 4  per  cent. 

Middle  States,  .        .    34.1         "  Canada 8.3  " 

Southern  States,     .        .    16.4  "  Foreign,     ....       5.3  " 

Thus  giving  the  best  means  of  advertising,  and  thus  securing  the  best  circulation  among  the 
active  votaries  of  the  art. 

9.  Its  form  has  been  adopted  by  all  the  other  American  magazines  of  our  art  (all  its  junior), 
but  its  quality  and  artistic  appearance  have  not  been  reached  by  any. 

10.  Its  standing  as  the  leading  magazine  of  its  kind,  has  been  maintained  ever  since  it  began. 
f  It  is  the  best  of  its  class,"  say  press  and  patrons. 

II.  Its  success  has  been  a  success,  though  its  price  is  higher  than  that  of  any  of  its  con- 
temporaries. The  best  artists  often  write,  "  I  don't  care  how  many  other  journals  there  are,  or 
how  low-priced,  I  must  have  The  Phii  adelphia  Photographer." 

12.  It  is  the  cheapest  of  all,  because  "  the  best  is  always  the  cheapest."  You  cannot,  therefore, 
afford  to  do  without  it. 

SUBSCRIBE  NOW.     $5.00  a  year ;  $2. 50  for  six  month;  50  cts.  a  copy. 

It  has  been  our  custom  for  many  years,  to  give  old  subscribers  a  premium  for  new  subscriptions 
sent  in  addition  to  their  own.  We  continue  this  plan  by  offering  one  dollar's  worth  of  our 
publications  for  each  such  additional  subscriber  for  a  year.  Please  do  all  you  can  to  increase  our 
usefulness  in  behalf  of  the  glorious  art  of  photography.     It  is  to  your  interest  to  do  so. 

For  1885  we  have  some  useful  schemes  and  novelties  under  way,  which  will  be  presented 
from  time  to  time.  Our  old  subscribers  are  asked  to  renew  now  for  1885,  so  that  the 
January  issue  will  reach  promptly.     IT  WILL  BE  A  GEM. 

Contributions  from  both  Actives  and  Amateurs  are  invited.  Proceedings  of  Societies  are  very 
useful  and  should  be  sent  promptly. 

EDWARD  L.  WILSON,  Editor,  Publisher,  and  Proprietor,  1125  Chestnut  St.,  Phila. 


NOTICE    TO    SUBSCRIBERS. 


In  remitting  by  mail,  a  post-office  or- 
der, or  draft,  payable  to  the  order  ot 
Edward  L.  Wilson,  is  preferable  to 
bank-notes.  Postage  stamps  of  the 
denomination  of  two  and  five  cents 
each  will  be  taken.  Clearly  give  your 
Post-Office,  County,  and  State. 

Foreign  subscriptions  must  be  ac- 
companied by  the  postage  in  addi- 
tion. 


ADVERTISING  sheets  are  bound 
with  each  number  of  the  Magazine. 
Advertisements  are  inserted  at  the  fol- 
lowing rates : 

One         Six        One 
Month.  Months.   Year. 

One  Page #20.00  $110.00  #200.00 

Half    *'    12.00       66.00     120.00 

Quarter  Page...  7.00  38.50  70.00 
Eighth  **  ...  4.00  22.00  40.00 
Cards,    6  lines 

orless 2.00       11.00       20.00 


The  attention  of  advertisers,  and 
those  having  galleries,  etc.,  for  sale 
is  called  to  our  Specialties  pages 
Terms,  $2  for  six  lines,  and  25  cents  foi 
each  additional  line,  seven  words  to  a 
line,  always  in  advance.  Duplicate 
insertions,  50  cents  less,  each. 

We  have  added  an  Exchange  Colum  n 
to  our  Magazine,  wherein  photogra- 
phers having  articles  for  exchange  can 
insert  advertisements  at  the  low  price 
of  15  cents  per  line,  or. fraction  of  a 
line,  of  seven  words  to  a  line. 

Operators  desiring  situations,  no 
charge. 


BLAIR'S 

FLEXIBLE  SLIDE  PLATE  HOLDER. 


t 

It  would  be  difficult  to  convey  to  one  not  aware  of  the  bother  of  the  ordinary 
Slide,  when  drawn  from  the  Plate  Holder,  the  convenience  of  one,  which,  at  a 
gentle  pull  from  behind,  rolls  in  guides  to  the  opposite  side  of  the  Holder ;  but  to 
the  operator  who  is  acquainted  with  the  nuisance  of  the  ordinary  style,  we  believe 
we  need  say  no  more  after  calling  attention  to  our 


FLEXIBLE    SLIDE    HOLDEE. 

It  is,  we  believe,  the  finest  made  Holder  in  the  American  market.  No  illus- 
tration or  description  will  do  them  justice.  They  are  reversible,  with  arrangements 
for  smaller  plates. 


8x10  Size,      .     . 

.     Price,  $10  00 

18  x  22  Size,      . 

.     .    Price,  $25  00 

10xi2     "           .     . 

12  OO 

20x24     " 

30  00 

11x14    " 

15  OO 

22  x  27     " 

35  00 

14x17    " 

20  00 

25x30     " 

40  00 

17x20    " 

22  00 

All  of   Our  COMBINATION    PORTRAIT  CAMERAS  above  8  x  10  in  size  are 
Fitted  with  these  Holders.    8  x  10  Fitted  to  Order. 

THE  BLAIR  TOUROGRAPH  AND  DRY-PLATE  CO. 

Factory,  471,  475  and  477  Tremont  St.  BOSTON,  MASS. 


AGENCIES  AND   WAREROOMS, 

BLAIR  &  PRINCE.  W.  T.  GREGG, 

148  W.  Fourth  St.,  Cincinnati,  Ohio.  318  Broadway,  New  York. 


22d  YEAR. 


JXJJXTE3,  1885. 


Number  258. 


50  Cents. 


THE 


PHILADELPHIA 


Iwt00ra£kt\ 


AN  ILLUSTRATED  MONTHLY  JOURNAL, 


DEVOTED  TO   PHOTOGRAPHY. 


EDITED  BY  EDWARD  L.  WILSON. 


PHILADELPHIA:   EDWARD  L.  WILSON 

PUBLISHER  AND   PROPRIETOR, 

No.  1 1 25  Chestnut  Street. 

SUBSCRIPTIONS  RECEIVED  BY  ALL  NEWS  AND  STOCZDEALERS. 
Five  Dollars  per  Annum,  in  Advance. 


3 


Entered  at  the  Post-Office  at  Philadelphia  as  second-class  matter. 


WILSON'S  PHOTOGKAPHICS,  Fourth  Thousand,  $4.00.  apskpelsee1Wd 


SUMMARY    OF    CONTENTS. 


Photography  at  the  New  Orleans  Exposition,  .  161 

Hypo  in  Gelatine  Negatives 172 

Society  Gossip, 173 

German  Correspondence.     By  H.  W.  Vogel,    .  179 

Our  Picture, 181 

Photographic  Experience  at  the  New  Orleans 

Exposition.     By  G.  Hanmer  Croughton,  .  183 


PAGE 

Pertaining  to  the  P.  A.  of  A., 185 

Some  of  the  Beauties  of  Dry-Plate  Working. 

By  Thomas  Pray,  Jr., 187 

An  Attempt  to  Photograph  the  Corona.     By  W. 

H.  Pickering, 190 

Editor's  Table, 191 


Instantaneous  Marine.     I.  W.  Taber,  San  Francisco,  Cal. 


ADVERTISEMENTS. 


ALLEN  BROTHERS.     The  Suter  Lens. 
ANTHONY  &  CO.,  E.  &  H.  T.     The  New  N.  P.  A 

Pense  Extra  Brilliant  Dresden  Albumen  Paper. 
BIGELOW'S  ARTISTIC  PHOTOGRAPHY. 
CARBUTT,  J.     Gelatine  Dry  Plates  and  Improved 

Dry  Plate  Lantern. 
COLLINS,  SON  &  CO.,  A.  M.     Photograph  Cards. 
COOPER,  CHAS.  &  CO.     Union  Negative  Cotton. 
CRAMER,  G.      Lightning  Plates. 
DEALERS'  DIRECTORY. 
DOUGLASS,  THOMPSON  &  CO.     Supplies  for  the 

Art-Science  of  Photography. 
FRENCH  &  CO.,  BENJ.    Voigtlander  &  Son  and 

Darlot  Lenses.     The  Wonderful  Euryscope. 
GENNERT,  G.     Albumen  Paper.     C.  Bohmke  & 

Co.'s  Improved  Aplanats. 
HANCE'S  SPECIALTIES. 
HODGE  &  HUSTON.     The  Solar  Printers. 
HYATT,  H.  A.     New  Brand  of  Dry  Plates. 
INGLIS,  JAMES.     "Insoluble"  Dry  Plates. 
KEEVIL'S  PATENT    NEWTONIAN    DUPLEX 

LANTERN. 
MAGEE  &  CO.,  JAS.  F.    Photographic  Chemicals. 


MOORE,  ALBERT.     Solar  Enlarger. 

MOSAICS,  1385. 

OPTICAL  LANTERNS  AND  SLIDES. 

PASSAVANT'S  DRY  PLATES. 

PHOTOGRAPHIC  COLORISTS'  GUIDE. 

PHOTOGRAPHIC  PROGRESS  SINCE  1878. 

PHOTOGRAPHIC  PUBLICATIONS. 

PHOTOGRAPHISCHE  MITTHEILUNGEN. 

PICTORIAL  EFFECT  IN  PHOTOGRAPHY. 

ROBINSON'S  NEW  MODEL  PHOTO.  TRIMMER. 

SCOFIELD'S  UNIQUE  CAMERA. 

SCOVILL  MANUFACTURING  CO.  New  Dres- 
den Albumen  Three  Crown  Paper.  Negative 
Washing  Boxes.     Gihon's  Cut-Outs. 

THE  BLAIR  TOUROGRAPH  AND  DRY  PLATE 
CO. 

THE  HELIOTYPE  PRINTING  CO. 

WAYMOUTH'S  VIGNETTE  PAPERS. 

WILSON,  HOOD  &  CO.  Ross  and  Steinheil  Lenses, 
Photo.  Frames,  Goods,  Stereoscopes,  and  Views. 

WILSON'S  PHOTOGRAPHICS. 

WILSON'S  LANTERN  JOURNEYS. 

WILSON'S  VIEWS  OF  THE  ORIENT. 


119  South  Fourth  St. 
PHILADELPHIA, 

Branch  Office, 
605  Seventh  Street, 

WASHINGTON,  D.  G. 


H.  HOWSOIV, 

Engineer  and  Solicitor  of  Patents. 

C.  HOWSON, 

Attorney  at  Law,  and  Counsel  in 
Patent  Cases. 


THE  PHILADELPHIA  PHOTOGRAPHER. 


145 


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146     THE  PHILADELPHIA  PHOTOGRAPHER. 

-^CINCINNATI    NEW   STOCK    BEPOT.^ 


BLAIR   &   PRINCE, 

Importers  of  and  Dealers  in 

PHOTO.  APPARATUS  AND  MATERIAL 

No.  148  West  Fourth  Street, 

CINCINNATI,  OHIO. 


Our  stock  is  fresh  from  the  best  factories,  bought  at  the  lowest 
cash  figures.  The  leading  brands  of  Plates,  Chemicals,  Albumen 
Papers,  and  everything  in  use  by  professional  and  amateur 
photographers  in  stock. 

OHIO  AGENTS  FOR 
BLAIR  APPARATUS  AND  MARSHALL  &  BLAIR'S  DRY  PLATES. 


WILLIAM  T.  GREGG, 

3X8   ZBrO£t<3/W"£ty%  3NT-  3T-? 

MANUFACTURER  OF  THE 

PHOTO-OPTICON. 

For  Oil  or  Gas,  Singly  or  in  pairs  for  Dissolving  Effects. 

The  most  brilliant  picture,  largest  screen,  and  most  compBct  Lantern  in  the 
world.  The  best  instrument  at  a  fair  price.  My  lists  of  Views  are  the  largest 
in  the  United  States. 


Photographic  Cameras,  Lenses,  Shutters,  Dry  Plates,  Supplies,  etc. 


NEW  YORK  WAREHOUSE   OF  THE 

BLAIR  TOUROGRAPH  and  DRY-PLATE  CO.,  of  Boston. 

American  and  Foreign  Photographs  of  Places f  Persons,  Paintings, 
and  Sculpture,  mounted  and  unmounted. 


INSPECTION  AND  CORRESPONDENCE  SOLICITED. 


THE    PHILADELPHIA    PHOTOGEAPHER 


147 


KEEVIL'S   PATENT 

NEWTONIAN   DUPLEX  LANTERN. 

This  new  lantern  is  duplex  in  form,  being  fitted  with  one  optical  system,  projecting  in  front,  and 
another  projecting  from  one  side.  The  light  through  the  first  system  is  transmitted  on  to  the  screen 
directly,  in  the  usual  way.  At  the  extremity  of  the  other  system,  is  fixed  a  prismatic  lensf  by  which 
oieans  a  disk  can  be  projected  on  to  the  screen  central  with  the  other.  The  oxyhydrogen  jet  is  ar- 
ranged on  a  pivot,  which  is  a  fixture  in  the  bottom  of  the  lantern,  the  centre  of  rotation  being  as 
near  the  outside  surface  of  the  lime  cylinder  as  possible;  and  by  rotating  the  burner  through  about  a 
quarter  of  a  circle,  the  light  is  brought  central  with  each  condenser  alternately,  and  simultaneously 
the  mechanical  dissolver  opens  and  closes  the  objectives. 

A  Complete  Lime-Light  Dissolving  Apparatus,  most  Compact 

in  Form,  at  the  Low  Price  of  $100.00;  with  Full 

Oxyhydrogen  Accoutrements,  $130.00. 


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™   <u   C   c    tjj)    : 

i-i^lo  rt  £    : 

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To  compensate  for  any  loss  of  light  occasioned  by  the  use  of  the  prism,  the  condenser  of  this  system 
is  made  somewhat  shorter  in  focus  than  the  other  one,  evenness  of  illumination  being  thereby  secured. 
Both  objectives  are  made  achromatic,  and  the  definition  of  the  one  to  which  the  prism  is  attached  is 
in  no  way  inferior  to  the  ordinary  one.  The  jets  never  require  adjustment,  as  every  lantern  is  put  to 
a  practical  test  before  being  sent  out;  the  best  position  for  the  jet  being  thereby  obtained,  further  ad- 
justment becomes  unnecessary,  The  dissolving  apparatus  is  adjustable  and  very  efficient.  The  conical 
fronts  are  easily  detached,  and  if  required  it  can  be  used  as  a  single  lantern.  The  whole  lantern  is  of 
metal.  Its  small  dimension  are  much  in  its  favor,  the  whole  packing  into  a  small  box,  easily  carried 
in  the  hand.  These  desiderata  are  certain  to  make  it  a  favorite  with  those  who  wish  for  an  apparatus 
of  extreme  portability.     See  further  in  our  new  catalogue.  & 

» We  have  arranged  for  the  sole  agency  of  the  United  States,  and  have  a  stock  on  hand  and  for  sale. 
Wa  have  thoroughly  tried  the  new  lantern,  and  are  charmed  with  it  in  every  way.  It  is  lighted  in  a 
minute,  easily  adjusted,  and  gives  entire  satisfaction. 

SEVERAL  RECENT  IMPROVEMENTS. 
SECUKED  BY  LETTEES-PATENT  IN  ENGLAND  AND  THE  UNITED  STATES. 

It  is  made  to  sit  on  any  table  or  stand,  and  full  directions  for  working  accompany  it.  Send  for  estimate  for  a  full 
outfit,  bags,  tubing,  generator,  &>c  dr'c.     Lists  of  our  new  dissolving  views  will  be  given  on  application. 


EDWARD   L.  WILSON, 


Sole  Agent  foi  the  United  States. 


1125  Chestnut  St.,  Philadelphia. 


148 


THE   PHILADELPHIA   PHOTOGRAPHER. 


WILSON'S  LANTERN  JOURNEYS 

These  descriptions  should  be  in  the  hands  of  every  Lantern  Exhibitor  and  Lecturer.  They 
help  you  choose  slides.  They  tell  you  what  facts  and  figures  the  public  want  to  know  about  the 
places  and  things  you  exhibit.  The  contents  are  divided  into  JOURNEYS  or  selections  as  per 
list  below : 


DESCRIBES 

SLIDES 

ALL  OVEE 

THE  WORLD. 


3  VOLUMES. 


VOLUME  I.  306  PAGES, 

Contains  NINE  Journeys: 

A — France  and  Switzerland. 

B— Belgium,      Germany,      Austria, 

Saxony,  and  Bavaria. 
C — Italy — Lakes,     Cities,     and    the 

Italian  Art  Galleries. 
D— Holland,      Denmark,      Norway, 

Sweden,  Russia,  and  Spain. 
E — Egypt,  Palestine,  Syria,  Turkey, 

Greece,  and  India. 
F — England,  Scotland,  and  United 

States  of  America. 
G— Centennial  Exhibition,  Philada. 
H — Centennial  Exhibition,  Philada. 
I— The  Paris  Exposition,  1878. 

/ ,V  A  LL,  O  VER  900  S UBJECTS. 

PRICE  $2,  POST-PAID. 


DESCRIBES 

SLIDES 

ALL  OVER 

THE  WORLD 


3  VOLUMES. 


VOLUME  H.  331  PAGES, 

Contains  TWELVE  Journeys: 

J — Germany  and  Russia. 

K — Belgium  and  Austria. 

L — France — Cities  and  Provinces. 

M — Spain  and  Portugal. 

N — Switzerland—  The    Four  Alpine 

Routes. 
O— Italy,  Ischia,  and  Sicily. 
P — Turkey,  Greece,  and  Egypt. 
Q— Palestine  and  India. 
R — Scotland— Cities  and  Ruins. 
S — Ireland. 
T — England — Cities,  Museums,  and 

Ruins. 
U — United  States  of  America. 

TN  ALL,   107 S  SUBJECTS. 

PRICE  $2,  POST-PAID. 


B^VOLUME  III— ON  THE   ORIENT— NOW   READY.^a 
PRICE  $2,  POST-PAID. 

Gives  descriptions  of  ali  Hie  slides  made  by  Mr.  Edward  Ij.  Wilson  of  his  personally 

taken  views  of  The  Sinai  Peninsula;   The  Desert  of  the  Exodus;   The 

Route  of  the  Israelites  to  the  Promised  Land;  and 

THE  TAKING  OF  PETRA. 

NEW    LECTURES    IN    PRESS. 


EDWARD  L.  WILSON,  Photo.  Publisher,  Philadelphia,  Pa. 


by  All  Dealers. 


SEND  FIFTEEN  CENTS  FOR  NEW  CATALOGUE. 


THE    PHILADELPHIA    PHOTOGKAPHEB. 


149 


THE  BEST  AND  THE  CHEAPEST. 


GREAT  REDUCTION  IN 

PRICES  OF  DRY  PLATES. 

FROM  AND  AFTER  MAY  10,   1885,  THE  PRICES  OF 

Eastman's   Special  Dry  Plates 

WILL  BE  AS  FOLLOWS  : 


3/4  x 

\% 

$o     45 

4      x 

5 

65 

A%  x 

5^ 

75 

4%x 

6^ 

90 

5       x 

7 

1    10 

5      x 

8 

1    25 

6%  x 

sy2 

1   65 

8       x 

IO 

2  40 

10x12 

$3  80 

11x14 

5  00 

14x17 

9  00 

16  x  20 

12  50 

17  x  20 

13  00 

l8  X  22 

15  50 

20  x  24 

18  50 

Eastman  Special  Dry  Plates  give  the  best  chemical  effects,  and  photographers 
are  invited  to  compare  them  with  any  other  plate  in  the  market  for  Brilliancy, 
Koundness,  and  Quick  Printing. 

Owing  to  improvements  made  from  time  to  time,  and  the  extreme  care  exer- 
cised in  every  detail  of  their  manufacture,  these  plates  are  quick,  clean,  and 
uniform. 

Only  the  best  English  glass  is  used.  No  cheap  French  glass,  such  as  is  em- 
ployed in  inferior  plates.     Try  them  and  you  will  use  them. 


FOR  SALE  BY  ALL  DEALERS. 


MANUFACTURED  ONLY  BY 


THE  EASTMAN  DRY  PLATE  AND  FILM  CO., 

ROCHESTER,  N.  Y. 


150  THE   PHILADELPHIA   PHOTOGKAPHER, 


The  Following  is  of  Interest  to  Every  Photographer. 


THE  NEW  N.  P.  A. 


P  E  N  S  E. 


We  desire  to  call  attention  to  our  NEW  PENSE  N.  P.  A.  Extra  Brilliant 
Dresden  Albumen  Paper. 

The  manufacturers  at  Rives  have  recently  many  marked  improvement  in  their 
celebrated  paper,  and  all  the  sheets  of  this  brand  are  manufactured  specially  for 
it,  and  are  readily  distinguished  from  all  other  papers  by  the  water-mark  N.  P.  A. 

It  is  doubly  albumenized  by  the  most  experienced  house  in  Germany,  with 
new  and  improved  formulas,  and  we  are  confident  that  on  trial  it  will  be  found 
superior  to  any  other  in  market. 

Its  excellence  has  induced  some  unscrupulous  persons  to  place  the 
STAMP  on  the  Paper  of  other  makers,  in  order  to  work  it  off,  trusting  that 
photographers  will  not  look  through  to  see  if  the  water-mark  is  there.  To 
prevent  this  we  have  registered  Jg^g^This  Trade  Mark^^g  in  Washington,  which  will 
subject  to  heavy  damages  all  <1<?^^-  ^-£/</  those  who  stamp  this  brand 
on  paper  which  does  not  bear  ^  N.P.A.  ^  the  water-mark  N.  P.  A. 
This  Paper  can  be  had  also  in         DRESDEN.         PINK,  PEARL  or  WHITE. 

FOR  SALE  BY  ALL  DEALERS  IN  PHOTO.  GOODS  IN  U.  S.  AND  CANADA. 


E.  &  H.  T.  ANTHONY  &  CO., 

591  Broadway,  NEW  YORK. 

N.  B. — When  any  paper  is  offered  to  you  at  a  low  price,  Measure  it. 

Also  note  whether  it  runs  Uniform,  for  some  albumenizers  mix  the  first  and 
second  qualities,  not  discarding  that  which  has  defects,  and  thus  get  their  paper 
cheaper. 


THE    PHILADELPHIA    PHOTOGRAPHEK. 


151 


Iixx^oirtstii-t  Reduction 

IN  THE  PRICE  OF  THE  POPULAR 

STANLEY  DRY  PLATES. 

FOLLOWING  IS  THE  REDUCED  FJR1CE  LIST: 

3X  x  4X,  per  dozen,       ....  $0  45  10  x  12,  per  dozen, $3  80 

4x5,  »  ....  65  11x14,  »  500 

4X  x  5}4,  »  ....  75  14x17,  >»  9  00 

4X  x  6#,  »  ....  90  16  x  20,  »  12  50 

5x7,  »  ....  1    10  17x20,  »  1300 

5x8,  ..  ....  1   25  18  x  22,  »  15  50 

6^x8^,  >»  ....  1  65  20x24,  ».  1850 

8x10,  »  ....  2  40 

These  Plates  have  met  with  remarkable  favor  among  both  amateur  and 
professional  photographers,  and  the  demand  is  much  greater  than  could  have 
been  expected  within  the  short  time  that  has  elapsed  since  their  introduction. 
Their  rapid  rise  to  popularity  is  a  sufficient  evidence  of  their  superior  qualities, 
for  with  so  many  plates  in  the  market,  nothing  but  intrinsic  excellence 
could  have  brought  them  so  suddenly  into  their  conceded  position  of  the 
best  plates  matje.     FOR  SALE  BY  ALL  DEALERS. 


IMPORTANT 


DISCOVERT. 


tropical  dry  plates. 

The  only  Dry  Plates  made  that  will  not  frill  in  water  of  any  temperature, 
and  can  be  dried  by  artificial  heat.  By  their  use  the  negative  can  be  developed, 
fixed,  and  dried  in  a  few  minutes,  enabling  proofs  to  be  taken  from  them  at  once. 
They  are  Rapid  and  Uniform,  unsurpassed  for  softness  and  delicacy,  and  can  be 
used  in  the  hottest  climates. 


3\ 


X  x  4^,  per  dozen, 

4x5,  » 

4X  x  5%,  » 

4X  x  ey2, 

5x7,  » 

5x8,  » 

6^x8"^,  » 

8  x  10,  » 


Pit  ICES  AS  FOLLOWS: 


$0  50 
75 
85 
05 
30 
45 
90 
80 


10  x  12,  per  dozen, $4  OO 

11x14,  »  ... 

14x17,  »  ... 

16  x  20,  »  ... 

17  x  2o,  »  -  •  • 
18x22,  »  ... 
20  x  24,  »  ... 


5  85 
10  50 

14  50 

15  25 
18  00 
21  50 


E.  &  H.  T.  ANTHONY  &  GO. 

Sole  Agents.  NEW  YORK. 


CAN  BE  HAD  OF  ANY  DEALER  IN  PHOTO.  MATERIALS. 


WHAT  IS  SAID  BY  ITS  READERS: 


We  cannot  recommend  it  too  highly  to  our  colleagues. 
— Mons.  Leon  Vidal,  Editor  of  the  Paris  Moniteur. 

The  success  of  this  latest  gem  of  photographic  litera- 
ture will,  no  doubt,  be  ns  great  as  the  merit  of  the  work 
deserves.  Among  the  photographic  writers  of  America 
E.  L.  Wilson  stands  without  a  compeer. — Dr.  H.  Vogel, 
Editor  of  the  Photo.  Mitth. 

By  far  the  best  photographic  book  ever  published  in 
America.  It  is  written  with  great  elegance  and  mas- 
terly handling  of  the  subject. — Dr.  E.  Horning,  Editor 
jf  Photographic  Gorrespondez,  Vienna. 

Would  not  be  without  one  for  triple  the  price. — 
Emmerson  Goddard,  Woonsocket,  R.  I. 

It  is  a  perfect  encyclopedia  of  the  photographic  art 
up  to  date. — H.  L.  Bliss,  Buffalo,  N.  Y. 

Photographies  is  the  most  imposing  book  devoted  to 
photography  I  have  seen. — J.  F.  Ryder,  Cleveland. 

Photographies  looks  fine,  and  is  selling  well.  We  are 
doing  our  best  to  push  it. — W.  Irving  Adams,  N.  Y. 

The  plan  of  the  book  is  novel.  .  .  .  Mr.  Wilson  could 
hardly  fail  by  this  plan  in  making  a  useful  and  prac- 
tical publication. — Anthony's  Bulletin,  N.  Y. 

It  is  the  very  best  text-book  upon  our  beloved  art. — 
John  R.  Clemons,  Phila. 

I  have  inquiries  for  a  good  book  on  photography,  and 
I  think  yours  is  that  book. — John  Carbutt,  Phila. 

It  is  a  pity  you  enn't  send  to  every  one  the  pages 
from  1  to  17 ;  all  would  be  sure  to  go  for  the  rest  of  it. 
— J.  H.  Hallenbeck,  New  York. 

It  is  a  complete  library. — W.  D.  Gatchel,  Cinn. 

We  know  of  no  one  in  our  fraternity  more  capable  of 
compiling  such  a  work  for  the  benefit  of  the  photo- 
graphic brotherhood  than  Mr.  Wilson. — J.  H.  Fitz- 
GiBBON,  in  St.  Louis  Practical  Photographer. 

It  demands  a  position  in  the  library  of  every  photog- 
lapher,  and  this  position  it  will  assuredly  attain  :is 
soon  as  its  merits  become  knawn. — Editor  Photographic 
Times  and  American  Photographer. 

Photographies  is  my  evening  companion,  and  with  it 
the  evenings  are  very  short.  It  is  just  what  I  have 
been  wanting  for  a  long  time. — Well  G.  Singhi,  Bing- 
hampton,  N.  Y. 

It  is  a  good  work,  and  I  look  to  see  you  issue  a 
second  edition  as  soon  as  it  has  had  time  to  commend 
itself.— D.  Bachrach,  Jr.,  Bait.,  Md. 

I  consider  it  greatly  superior  to  anything  yet  pub- 
lished.— J.  B.  Leisenring,  Fort  Dodge,  Iowa. 

It  is  a  most  useful  book,  and  its  practical  teachings 
to  the  studious  photographer  contain  the  most  valuable 
information. — C.  D.  Mosher,  Chicago. 

Photographies  hits  the  nail  right  on  the  head.  I 
would  rather  have  it  than  all  the  other  books  on  pho- 
tography put  together.  The  idea  is  capital,  as  it  is 
original,  and  gives  us  the  whole  thing  in  a  nutshel). — 
B.  W.  Kilburn,  Littleton,  N.  H. 


I  hope  that  every  photographer  will  see  to  it  that  his 
$4  goes  direct  to  you,  without  any  dealer's  commission 
off,  in  order  that  you  may  have  the  full  benefit  of  its 
price — a  benefit  indeed  for  the  many  years  you  have 
played  your  part  so  carefully  upon  the  photographic 
stage  for  us. — Fred.  C.  Phillips,  St.  Thomas. 

It  is  the  most  unique  aud  powerful  work  upon  the 
subject  I  have  ever  seen. — J.  E.  Beebe,  Chicago. 

The  book  of  photography.  It  is  worth  the  price  with 
compound  interest. — P.  Kellmer,  Hazleton,  Pa. 

I  have  read  Photographies  through,  and  am  fully 
satisfied  it  is  without  a  peer  in  photographic  literature. 
To  me  it  is  invaluable. — E.  P.  Hovey,  Rome,  N.  Y. 

My  friend  and  tutor,  allow  me  to  thank  you  for  your 
noble  book,  and  may  thousands  testify  to  its  value  by 
giving  it  the  chiefest  place  in  their  library. — F.  M. 
Spencer,  Mansfield,  Pa. 

I  can  assure  you  sincerely  that  I  never  invested  S4.00 
for  reading  with  as  much  satisfaction  as  in  this  case. — 
C.  T.  Stuart,  Hartford,  ConTi. 

A  short  timg  since  I  had  the  pleasure  of  perusing 
your  new  book  Photographies.  As  a  result  I  want  it, 
and  enclose  check  for  four  dollars.— Geo.  Pine,  Trenton, 
New  Jersey. 

Of  all  the  photographic  literature  published,  this 
book  seems  the  very  best.— J.  P.  Spooner,  Stockton, 
Cal. 

I  am  very  much  delighted  with  it.  The  treatises  on 
dry-plates,  emulsions,  etc.  etc.,  are  all  very  minute  in 
detail. — J.  A.  Van  Drelzen,  Peoria,  111. 

I  think  the  Photographies  a  very  valuable  book,  one 
that  every  photographer  should  have. — K.  T.  Sheldon, 
West  Winsted,  Conn. 

It  is  the  best  book  I  ever  got  possession  of.  Those 
who  want  lightning  or  instantaneous  processes  had 
better  get  a  copy  and  work  with  pleasure.  Nothing 
like  it;  too  good  to  be  without. — Joseph  Theiring, 
Cincinnati,  Ohio. 

The  first  short  article  that  I  read  was  worth  the  cost 
of  the  book,  and  in  looking  it  over  find  it  contains  an 
inestimable    amount   of    valuable    information   which 
would  not  be  found  out  in  a  lifetime  of  practice. — E.- 
F.  Burchand,  Worthington,  Minn. 

Your  Photographies  will  supply  a  want  long  felt 
among  the  fraternity,  more  especially  among  those  like 
ourselves  who  are  "out  of  the  world,"  so  to  speak. — 
J.  R.  Hanna,  Auckland,  Australia. 

One  hundred  dollars  would  not  buy  mine  if  I  could 
not  get  another.  I  do  not  see  how  I  managed  so  long 
without  it.— Oscar  Cromwell,  Grizzly  Flat,  Col. 

Photographies  suits  me  better  than  any  similar  work 
I  have  come  across.  The  giving  of  the  experience  of 
different  workers  on  the  same  subject,  and  giving  it  in 
their  own  words,  being  an  especially  valuable  feature. 
— S.  B.  Kill,  Flemington,  N.  J. 

Your  Photographies  is  the  best  thing  out;  practical 
and  to  the  point,  and  no  nonsense. — Walt.  C.  North, 
Utica,  N.  Y. 


SALE  DON'T  STOP. 

"Will  be  mailed,  post-paid,  to  any  address,  on  receipt  of  $4.00. 

EDWARD  L.  WILSON,    Author  and  Publisher,  1125  Chestnut  Street,  Philadelphia. 


THE    PHILADELPHIA    PHOTOGRAPHER  153 

Benj.  French  &  Co. 

No.  319  WASHINGTON  STREET,  BOSTON, 

Sole  Agents  in  the  United  States  for  the  Celebrated  Lenses 
Manufactured  by 

VOIGTLANDER   &   SON. 


ALSO,  THEIR  FAMOUS 


Which  is  unrivalled    for  groups,  full-length   figures,  and  other  demands  in  the 
gallery  and  every  species  of  out-door  work,  including  instantaneous  photography. 

jfpgirTHE  EURYSCOPE  is  made  exclusively  by  Voigtlander  &  Sod,  and  their 
name  is  eugraved  on  the  tube. 


PORTRAITS.    HARLOT     LEMBBS    VIEWS. 


IMPORTERS,  ALSO,  OF  THE  CELEBRATED 

TRAPP  &  MUNCH 

ALBUMEN    PAPER, 


AND  DEALERS  IN  ALL  KINDS  OF 


Photographic  Materials  and  Magic  Lantern  Slides. 


SEND  EOR  OUR  NEW  ILLUSTRATED  PRICE  LIST  OF  LENSES. 


154 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


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THE    PHILADELPHIA    PHOTOGRAPHER.  155 

A  GLOW  of  PHOTOGRAPHIC  PUBLICATIONS 


The  amateur  and  his  old  friend,  the  dady  worker,  are  well  taken  care  of  in  the 
literature  line,  and  we  ask  their  attention  to  the  following  list,  which  includes 
about  everything  there  is  need  for.  There  is,  in  fact,  a  treatise  on  every  branch 
of  photography. 

The  Philadelphia  Photographer.  A  monthly  magazine,  illustrated  by  photographs  of 
superior  merit.  $5  a  year;  $2.50  for  six  months. — Stands  ahead  of  all  its  kindred.  Eighteen 
years  of  success  is  a  sufficient  guarantee  of  its  value  and  use  to  the  practical,  working,  growing 
photographer.     Do  not  go  without  its  valuable  help. 

The  Perrotyper's  Gruide.  Price,  75  cents. — Cheap  and  complete.  For  the  ferrotyper 
this  is  the  only  standard  work.     Seventh  thousand. 

Pictorial  Effect  in  Photography.  By  H.  P.  Robinson.  Cloth,  $1.50;  paper  cover, 
$1. — For  the  art  photographer. 

"Wilson's  Photographies.  The  newest  and  most  complete  photographic  lesson-book. 
Covers  every  department.     352  pages.     Finely  illustrated.     Only  $4.     By  Edward  L.  Wilson. 

"Wilson's  Lantern  Journeys.  By  Edward  L.  Wilson.  In  three  volumes.  Price,  $2  per 
volume. — For  the  lantern  exhibitor.  Gives  incidents  and  facts  in  entertaining  style  of  about  2,000 
places  and  things,  including  200  of  the  Centennial  Exhibition. 

Bigelow's  Artistic  Photography.  Price  reduced  to  $4. — For  the  lover  of  art.  Beats 
his  "Album  of  Lighting  and  Posing."     Superb!     With  twelve  photographs  and  instructions. 

Studies  in  Artistic  Printing.  By  C.  W.  Hearn.  Price,  $3.50. — Embellished  with  six 
fine  cabinet  and  promenade  portrait  studies. 

The  Photographic  Oolorists'  G-uide.    By  John  L.  Gihon.    Cloth,  $1.50. — The  new  e 

and  best  work  on  painting  photographs. 

Photographic  Mosaics,  1884.     A  year-book.    Cloth  bound,  $1 ;  paper  cover    50  cen 
Better  than  any  of  its  predecessors. — Back  volumes,  same  price. 

The  Photographic  Amateur.  By  J.  Traill  Taylor.  A  guide  to  the  young  photogra- 
pher, either  professional  or  amateur.     Price,  50  cents. 

The  Art  and  Practice  of  Silver-Printing.  By  H.  P.  Robinson  and  Capt.  Abney, 
R.E.,F.R.S.     Price,  50  cents.     Illuminated  cover.     Cloth  bound,  75  cents. 

How  to  Make  Pictures.  (Second  edition  of  5,000  copies.)  The  ABC  of  Dry-plate  pho- 
tography.    By  Henry  Clay  Price.     Price,  illuminated  cover,  50  cents ;  cloth,  75  cents. 

Photography  with  Emulsion.  By  Capt.  W.  DeW  Abney,  R.E.,F.R.S.  Price,  $1 
per  copy. 

Twelve  Elementary  Lessons  in  Dry-plate  Photography.     Price,  25  cents  per 

copy. 

The  Modern  Practice  of  Retouching.     Price,  50  cents  per  copy. 

The  Spanish  edition  of  How  to  Make  Pictures.  Ligeras  Lecciones  sobre  Fotografia 
Dedicados  a  Los  Aficionados.     Price,  $1  per  copy. 

The  Progress  of  Photography  Since  1 879.  By  Dr.  H.  W.  Vogel.  A  splendid  helper 
to  all  workers.     Price,  $3. 

Picture  Making.     By  H.  P.  Robinson.     Cloth,  $1.     Paper,  50  cents. 

All  orders  for  above  will  be  filled,  free  by  post,  on  receipt  of  price  at  the 
office  of  this  magazine. 

EDWARD  L.  WILSON,  Photo.  Publisher,  1125  Chestnut  St.,  Phila. 


156  THE    PHILADELPHIA    PHOTOGRAPHER. 


JAMES   INGLIS 


MANUFACTURER  OF  THE 


Inglis  Dry  Plates, 

ROCHESTER,  N.  Y. 


INGLIS'  NEW  DRY  PLATE. 

E.  L.  Wilson  says  they  are  too  quick  for  him  in  New  Orleans, 
but  adds,  the  quality  is  all  right.     Send  us  slower  ones. 

Negatives  made  in  one  or  ten  seconds,  both  equally  good. 
We  saw  this  done,  and  so  exactly  alike  were  the  two  negatives 
they  could  not  be  told  apart.  Both  taken  on  one  plate  then  cut 
in  two.  Fred.  Robinson,  Trumansburg. 

Hale,  Seneca  Falls. 

For  Transparencies  they  are  not  excelled.  How  to  develop 
for  positives.  For  quick  or  slow  exposures.  For  hard  or  soft 
negatives,  find  in  our  directions,  which  will  enable  the  youngest 
amateur  to  work  successfully.     Will  send  them  by  mail  on  request. 


THERE  IS  NO  FEAR  OF  FRILLING. 


SGOYILL  MANUFACTURING  CO.,  AGENTS. 

And  For  Sale  by  most  of  the  Dealers. 


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Manufactured  only  by 

Alfred  L.  Hance, 

PHILADELPHIA. 


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Scovill  Manufacturing  Company,  Trade  Agents. 
FOR  SALE  BY  ALL  DEALERS. 


158  THE    PHILADELPHIA    PHOTOGRAPHER. 

(2 THE ^ 

PROGRESS  OF  PHOTOGRAPHY 

FRO  M     1879    tO     1884. 
By  DR.  H.  W  VOGBL, 

Professor  and  Teacher  of  Photography  and  Spectrum  Analysis  at  the  Imperial 

Technical  High  School. 


NO'W    R.E3ADY. 

A   Review   of  the    more    Important   Discoveries   in 

Photography  and  Photographic  Chemistry 

within  the  Last  Four  Years. 

READ    WHAT    HE    SAYS    ON 

EMULSION    PHOTOGRAPHY, 

AND 

THE  CHAPTER  ON  PHOTOGRAPHY  FOR  AMATEURS. 

INTENDED  ALSO  AS  A  SUPPLEMENT  TO  THE  THIRD  EDITION 
OF  THE  HANDBOOK  OF  PHOTOGRAPHY. 

Kevised  by  EDWARD  L,  WILSON,  Editor  Philadelphia  Photographer. 
Translated  from  the  German  by  ELLEESLIE  WALLACE,  Jr.,  M.D. 


$3.00.  347    PAGES.  $3.00. 

With  Seventy-two  Illustrations,  and  an  admirable  portrait  taken  with 
Electric  Light,  by  W.  Kurtz,  New  York. 

(SEE  OPPOSITE  PAGE.) 


THE    PHILADELPHIA    PHOTOGRAPHER. 


159 


VO  GEL'S 


Progress  in  Photography. 


CONTENTS: 


CHAPTER  I. 
PHYSICAL  EFFECTS  OF  LIGHT. 

CHAPTER  II. 
CHEMICAL  EFFECTS  OF  LIGHT. 

A.  Effects  of  Light  upon  Metalloids  and  their 

Compounds. 

B.  Effects    of  Light  upon  Metals  and   their 

Compounds. 
The  Double  Salts  of  Iron  and  Oxalic  Acid. 
The  Iron  Lichtpaus  Process. 
Actinium,  a  new  Metal. 
Salts  of  Copper. 
Salts  of  Chromic  Acid. 
Combinations  of  Mercury. 
Platinum  Printing. 
The  Salts  of  Silver. 

The  Various  Modifications  of  Bromide  of 
Silver  and  the  Chemical  Principles  of  the 
Emulsion  Process. 
Photo-chemistry  of  Chloride  of  Silver. 
Rare  Salts  of  Silver. 

CHAPTER  III. 
PHOTOGRAPHIC  CHEMISTRY. 

Different  Forms  of  Pyroxyline, 
Concerning  the  Characteristics  of  Gelatine. 

CHAPTER  IV. 
PHOTOGRAPHIC  OPTICS. 

New  Objectives. 

Artificial  Light  and  its  Application  to  Pho- 
tography. 
Chemical  Photometers. 

CHAPTER  V. 
PHOTOGRAPHIC  APPARATUS. 

Cameras,  Changing-boxes,  and  Tripods. 
Instantaneous  Shutters. 


CHAPTER  VI. 

THE  NEW  PHOTOGRAPHIC 
PROCESSES. 

A.  New  Negative  Processes  (Dry  Processes). 
Pi  epn  ration  of  Gelatine  Emulsion. 

a.  The  Author's  Method. 

b.  Eder's  Method  with  Ammonio-nitrate 

of  Silver. 

c.  Eder's  Combination  Method  with  the 

Author's  Modification. 

d.  Eder's  New  Method  with  Carbonate 

of  Ammonia. 

e.  Precipitation  Methods. 

f.  Vogel's  Emulsion. 

B.  The  Manipulation  of  the  Gelatine  Plates, 
i.  Gelatine  Plates. 

a.  The  Exposure. 

b.  The  Development. 

c.  The  Fixing. 

d.  The  Intensifying. 

e.  The  Drying  and  Finishing. 

2.  Vogel's  Emulsion  Plates. 

3.  Failures  in  Gelatine  Plates. 

4.  Notes  on  the  Gelatine  Process. 

C.  New  Positive  Processes. 

1.  The  Platinum  Processes  (Platinotype). 

2.  New  Silver  Printing  Processes. 

3.  New  Enlargement  Processes  and  Appa- 

ratus. 

4.  New  Permanent  Printing  Processes. 

CHAPTER  VII. 

PHOTOGRAPHIC  ESTHETICS  AND 
PORTRAIT  TECHNIQUE. 

CHAPTER  VIII. 
PHOTOGRAPHY  FOR  AMATEURS. 


$3.00 P  R I C  B $3.00 


MAILED  OF  MECEIP1   OF  PMICE,  BY 

EDWARD  L.  WILSON,  1125  Chestnut  St.,  Philadelphia. 


160  THE    PHILADELPHIA    PHOTOGRAPHER. 


DEALERS'  DIRECTORY. 


The  following  houses  are  to  be  recommended  as 
the  best  for  photographers  in  their  localities. 

+ 


S.  T.  BLESSING, 

New  Orleans, 

La. 


THE 

BEST  BOOK 

IS 


SMITH  &  PATTISON, 

New  Location, 

145  &  147  Wabash  Avenue, 

Chicago. 


H.  A.  HYATT, 

Mound  City  Photo.  Stock  House, 

8th  and  Locust  Sts., 

St.  Louis,  Mo. 


WILSON'S 

PH0T0GRAPHICS, 

$4.00. 


D.  J.  RYAN, 

Savannah, 

Ga. 


SCOYILL  MAJFG  CO, 

423  Broome  St., 
New  York. 


D.  TUCKER  &  00., 


Buffalo, 


N.  Y. 


BLESSING  &  BB0., 

Galveston, 

Texas. 


0.H.00DMAN&G0. 

Boston,  Mass. 


WILSON,  HOOD  &  CO, 

825  Arch  Street, 
Philadelphia,  Pa. 


B.  FRENCH  &  CO. 

Boston,  Mass. 


BUCHANAN.  SMEDLET 
&  BROMLEY, 

25  N.  Seventh  St., 

Philadelphia. 


EDWARD  L.  WILSON, 

Photo.    Publisher, 

LANTERN  SLIDES, 

1 125  Chestnut  St., 

Philadelphia. 


MDLLETT  BROS. 

Kansas  City, 
Mo. 


OSCAR  FOSS, 

San  Francisco, 
Cal. 


E.&H.T.ANTHOMY&CO. 

591  Broadway, 

New  York. 


SHEEN  &  SIMPKINSON, 

Cincinnati, 

Ohio. 


■+■ 


I.    W.  TABEfl. 


SAN   FRANCISCO,    CAL. 


INSTANTANEOUS    MARINE    VIEWS. 


THE 


EDITED    BY    EDWARD    L.    WILSON. 


Vol.  XXII. 


JUNE,   1885. 


No.  258. 


PHOTOGRAPHY  AT  THE  NEW 
ORLEANS  EXPOSITION. 

Having  now  given  a  complete  list  of  the 
regular  phonographic  exhibits  at  New  Or- 
leans, we  proceed  to  keep  our  promise  to 
present  our  readers  with  a  catalogue  of  pho- 
tographic representation  in  the  U.  S.  Gov- 
ernment and  States  Building.  We  have  fre- 
quently alluded  to  the  fact  that  this  building 
had  robbed  the  regular  photographic  exhibit 
of  a  great  deal  that  ought  to  hang  with  it, 
but  we  had  no  idea  that  it  had  done  so  to 
such  a  great  extent,  for  we  find  in  the  Gov- 
ernment Building  a  collection  that  would 
well  serve  to  make  up  a  national  photo- 
graphic exhibit.  At  the  Centennial  Exhibi- 
tion of  1876,  in  the  splendid  photographic 
hall  there  was  a  greater  number  of  processes 
represented,  but  the  useful  appliances  of 
photography  were  not  nearly  so  largely 
•  shown  to  the  public  as  they  are  here.  Here 
photography,  indeed,  makes  up  a  very  im- 
portant element  in  the  whole  grand  educa- 
tional exhibit  collated  by  the  Government 
and  the  States  and  Territories. 

Those  who  carefully  read  the  catalogue 
given  below  will  see  that  it  has  been  made 
to  help  almost  every  department  of  art  and 
industry  that  is  known  to  our  people;  in 
some  cases,  scientists  who  have  been  inter- 
esting themselves  for  some  time  in  collecting 
material  pertaining  to  their  specialties,  have 
relied  upon  photography  entirely  to  illus- 
trate the  result  of  their  work.     We  have 


gone  over  the  ground  very  carefully  with 
our  stenographer  ;  and,  although  some  of  the 
pictures  in  this  building  may  have  escaped 
our  notice,  we  believe  we  have  pretty  thor- 
oughly catalogued  the  productions  of  our  art, 
and  are  able  to  say  the  list  is  quite  complete. 
We  began  our  work  at  the  northern  en- 
trance of  the  building,  and  took  the  list  in 
three  sections.  First,  that  represented  by 
the  States;  second,  that  represented  by  the 
Government ;  and,  third,  what  was  to  be 
found  in  the  departments  devoted  to  educa- 
tion, to  the  colored  people,  and  to  the  wo- 
man's and  temperance  departments.  We 
shall  first 'follow  the  catalogues  of  the  pic- 
tures as  we  found  them,  with  a  few  passing 
remarks,  and  afterwards  will  have  an  article 
summing  up  on  the  whole,  including  some 
thoughts  which  came  to  us  as  we  were  going 
on  with  the  work.  We  begin  the  catalogue 
with — 

New  Mexico.  Here  are  photographs  of 
Indians,  and  various  scenes  in  their  life: 
dances,  schools,  cave  homes,  and  manufac- 
tures, exhibited  by  the  Albuquerque  Indian 
School.  Another  lot  illustrate  the  mining 
of  iron,  herding  of  cattle,  gulch  mining, 
natural  scenery,  and  farming.  The  largest 
of  these  are  by  W.  A.  White,  Baton,  New 
Mexico. 

Colorado.  Scenes  along  the  line  of  the 
Denver  &  Bio  Grande  Bailway,  by  W.  H. 
Jackson,  Denver,  work  which  is  mentioned 
elsewhere. 


11 


162 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


Arizona.  Illustrating  mineral  products, 
natural  scenery,  vegetable  growth,  Indians 
and  their  homes,  life  and  travel  in  the  "Wild 
"West,"  and  mining,  by  Hildreth  &  Burge, 
and  Flagstaff.  Views  of  the  Grand  Canon, 
Colorado  Kiver,  especially  those  of  Peach 
Spring,  the  celebrated  resort,  smelting  works, 
and  other  characteristic  pictures  by  Ply,  are 
fine.  The  judgment  of  Judge  Lynch  (a  man 
hanging  on  a  telegraph  pole)  is  also  very 
realistic. 

California.  Views  of  natural  scenery  and 
big  trees.  J.  Pitcher  Spooner,  Stockton, 
exhibits  a  very  unique  collection  of  the  mam- 
moth farm  machinery  used  in  the  golden 
land,  and  some  splendid  views  of  Stockton, 
all  of  excellent  quality  as  photographs. 
Mr.  Spooner's  architectural  views  are  par- 
ticularly fine;  one  of  a  tumble-down  old 
shanty,  with  the  inmates  sitting  at  the  door, 
is  the  gem  picture  of  the  lot,  though  all  are 
very  pretty.  Photography  is  also  made  use 
of  here  for  showing  up  the  exhibits  of  various 
manufacturers,  fruitgrowers,  and  merchants, 
some  of  which  are  of  displays  made  at  other 
Expositions.  Some  animal  and  landscape 
pictures  by  W.  A.  Clinch,  Grass  Valley, 
are  also  worthy  of  mention.  Among  the 
others  is  one  entitled  "A  Big  Load  of  Logs," 
the  load  containing  14,958  feet  of  round 
timber. 

Three  very  fine  views  are  shown  here, 
without  any  photographer's  name  attached. 
They  illustrate  the  production  of  lumber 
from  the  boom  to  the  board-yard. 

The  next  collection  is  of  Pacific  Coast 
scenery  by  Mr.  I.  W.  Taber.  It  exceeds 
anything  else  here  in  our  line,  and  is  a  much 
finer  exhibit  than  that  made  by  Mr.  Taber 
in  the  photographic  section  proper ;  a  fair 
instance  of  how  State  pride  has  influenced 
photographers  to  bend  towards  their  State 
exhibits,  rather  than  to  enhance  the  main 
exhibition  of  their  art.  We  have  no  fault 
to  find,  however,  so  long  as  photography  is 
well  represented  and  receives  no  snubbing, 
as  it  is  apt  to  do.  The  New  Almaden  Quick- 
silver Mining  and  Smelting  Works,  and 
hydraulic  mining  at  North  Bloomfield,  Ne- 
vada Co.,  Cal.,  are  finely  illustrated.  Some 
meteoric  iron,  and  a  photograph  illustrating 
the  beautiful  form  of  crystallized  gold,  are 
very  good  illustrations  of  lens  work.     The 


last-named  specimen  was  found  about  sixty 
feet  below'  the  surface,  in  a  decomposed 
quartz  seam,  between  slate.  Another  pho- 
tograph is  of  a  meteoric  iron  mass,  whose 
weight  is  eighty-four  pounds.  It  was  found 
in  1880  near  Shingle  Springs,  Eldorado  Co., 
Cal. 

Twelve  frames  of  5x8  views  of  the  Pa- 
cific Coast  scenery,  of  Belmont,  Monterey, 
and  surroundings,  and  of  the  Yosemite  Val- 
ley, by  Fiske,  San  Francisco,  Cal.,  are  gems 
of  photographic  art,  and  place  Mr.  Fiske  in 
the  front  rank. 

C.  E.  Watkins,  San  Francisco,  Cal.,  also 
displays  several  frames  of  magnificent  pic- 
tures of  California  scenery,  coast  and  land- 
scape, with  others  of  the  old  Carmel  Mission 
at  Monterey — whale  fishing,  architectural 
views,  summer  resorts,  natural  springs,  the 
fishing  interests  of  Monterey,  and  life  in  the 
wilderness.  The  gems  of  the  collection  are 
20  x  24  views  of  the  "  Hotel  Del  Monterey," 
"  The  American's  Favorite  Winter  Eesort," 
and  the  old  "  Oarmel  Mission  Church."  The 
photograph  of  Mr.  Thomas  Hill's  splendid 
painting,  "The  Last  Spike,"  by  Mr.  Wat- 
kins,  is  also  displayed  here.  Three  views  of 
the  "Hercules  Dredgery,"  by  a  nameless 
photographer,  exhibit  the  interest  of  the 
country  in.  this  direction,  and  how  they 
are  applied. 

Nevada.  General  views  of  Carson  City, 
illustrating  the  industries  of  the  State  Prison, 
natural  scenery,  etc.  Among  the  views  of 
the  State  Prison  are  some  of  the  natural  wall 
(sandstone)-  20  to  30  feet  high,  carefully 
watched  by  the  mounted  guard  on  the  top 
of  the  wall,  and  sadly  broken  into  by  pre- 
historic tracks  of  the  species  "  Genus  homo  " 
and  the  "  Eliphas  Americanus."  These  are 
by  Mr.  J.  E.  Waters,  of  Gold  Hill,  Nevada. 
The  illustrations  of  hydraulic  mining, 
smelting,  and  river  mining  at  Virginia  City 
are  very  fine;  every  species  of  machinery 
and  appliance  used  in  the  mining  interest  is 
illustrated  here  by  photography.  Mr.  Waters 
does  not  forget  the  more  picturesque  in  na- 
ture either,  as  the  views  of  Truckee  Eiver, 
Carmelian  Bay,  and  other  places  prove. 
One  of  the  most  interesting  scenes  is  a  pic- 
ture entitled  "Loading  Logs,"  where  the 
great  ox  teams  are  at  work  with  their  soli- 
tary woodsmen,  amid  the  wonderful  pines 


THE   PHILADELPHIA    PHOTOGrEAPHEE. 


163 


and  cypresses  in  that  section.  A  represen- 
tative scene  of  life  in  Nevada  is  a  view  from 
Carson  City,  where  the  vast  expanse  of 
country  broken  into  by  railway  tracks  seems 
to  be  covered  with  illimitable  piles  of  lumber 
ready  for  the  market.  The  landscape  gem 
of  the  lot  is  a  view  of  Carson  River.  In- 
teriors and  views  of  machinery  of  the  Bruns- 
wick Mill  at  Carson  City,  although  bad 
photographs,  are  exceedingly  interesting 
pictorially,  as  illustrating  the  tremendous 
power  applied  in  this  industry.  A  view  of 
basaltic  columns  near  Mt.  Davidson  makes 
us  think  of  the  Giant's  Causeway,  being 
exactly  the  same  in  shape.  Same  natural 
views  near  Virginia  City  and  Tahoe  are 
very  fine;  all  these  views  represent  an  im- 
mense amount  of  labor  on  the  part  of  the 
photographer,  as  we  all  know. 

Illinois.  Views  of  the  Illinois  Industrial 
University,  showing  the  laboratory,  gym- 
nasium, machine  shop,  carpenter  shop,  mili- 
tary class,  designing  room,  architectural 
study,  chapel,  museum,  farm,  barn,  and 
College  court  are  good.  Mr.  C.  W.  Mosher, 
of  Chicago,  displays  several  hundred  of  his 
photographs  arranged  for  posterity,  a  collec- 
tion of  which  we  know  the  history  from  its 
beginning.  We  probably  will  not  know  its 
end. 

Mr.  W.  E.  Bowman,  Ottawa,  111.,  exhibits 
a  collection  of  the  gems  of  the  Illinois  Val- 
ley, which  includes  his  own  portrait,  with 
good  truth,  because  Mr.  Bowman  is  one  of 
the  gems  of  the  Illinois  Valley. 

Some  views  of  the  bridges  of  Chicago,  by 
a  photographer  whose  name  is  not  given, 
are  very  fine.  Several  albums  lie  on  the 
table  filled  with  8  x  10  photographs,  by  J. 
W.  Taylor,  Chicago.  They  are  of  architec- 
tural studies  of  the  great  city  of  the  West, 
and  are  exceedingly  well  done.  Mr.  Tay- 
lor's interior  views  are  particularly  attractive. 
Mr.  Mosher  also  exhibits  some  very  fine 
pictures  of  stock  and  cattle,  which  can 
hardly  be  excelled.  Another  application  of 
photography  is  made  by  Messrs.  Tibbals  & 
Graves,  of  Bloomingtun,  111.,  of  various 
public  school  buildings  in  the  Illinois  towns. 
Those  of  the  Illinois  Industrial  University 
and  of  the  Illinois  Wesleyan  University  are 
also  excellent.     They  represent,  no  doubt, 


subjects  educationally  of  great  interest  in 
the  "West. 

In  the  Wisconsin  Department  a  fine  series 
of  11  x  14  views,  by  some  nameless  photog- 
rapher, is  exhibited,  of  scenery  reached  by 
the  Chicago  &  Northwestern  Railway.  The 
wild  scenery  of  Devil's  Lake,  the  placid 
beauties  of  Green  Lake,  the  wonders  of  the 
Wisconsin  lumber  region  in  winter  and 
summer,  and  the  quiet  shades  of  Green  Lake 
neighborhood,  with  thrilling  scenes  of  the 
Dalles  of  the  St.  Croix,  are  all  here  beauti- 
fully portrayed  by  the  camera.  Some  re- 
markable efforts  at  double  printing  have 
been  practised  by  this  photographer,  such 
as  placing  a  statue  of  Mercury  upon  a  rock 
with  hands  stretched  out  across  the  lake, 
beckoning  ;  another  of  an  antelope  under  a 
pine  tree,  watching  the  coming  of  the  mur- 
derous hunter  upon  the  other  side  of  Green 
Lake.  The  pictures  are  wildly  imaginative 
and  suggestive,  and  reflect  discredit  upon 
the  photographer  who  did  them.  The  Chi- 
cago, Milwaukee  &  St.  Paul  Railway  makes 
a  large  photographic  exhibit  of  the  scenery 
along  the  line  in  Wisconsin.  We  never 
knew  before  ttiat  such  wild  scenery  was  to 
be  found  in  this  State,  though  some  of  the 
dells  of  Wisconsin  are  very  familiar  to  us. 
We  remember  one  view  here  particularly, 
of  a  round-faced  rock,  where  once  upon  a 
time,  with  our  friend  Mr.  Carbutt,  we  were 
photographing  a  good  many  years  ago,  one 
of  our  circular  diaphragms  rolled  from  the 
slit  in  our  lens,  struck  this  round-faced  rock, 
then,  bounding  high  in  air,  made  a  long, 
last  leap  over  the  face  of  the  rock  into  the 
clear  water  of  the  Wisconsin  River  below. 
We  obtained  our  last  view  of  the  precious 
little  disk  some  sixty  feet  below  the  surface 
of  the  water.  The  views  of  "Giants'  Castle," 
"  Lone  Rock,"  and  of  the  "  Dells"  are  par- 
ticularly fine  ;  they  were  made  from  20  x  24 
plates.  Judging  from  some  smaller  prints 
which  bear  his  name,  they  were  made  by 
Bauder,  of  Mariette,  Wis.  Another  series  on 
the  line  of  the  same  railway  illustrate  fishing 
and  Indian  life.  Some  of  these  photographs 
are  from  very  antique  drawings,  and  are  not 
very  elegant.  The  history  of  these  draw- 
ings we  do  not  find.  There  are  some  very 
antique  photographs  in  this  collection  ;  but, 
as  an  illustration  of  the  growth  of  the  coun- 


164 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


try,  the  whole  series  is  a  success.  Some  ar- 
chitectural views  of  the  various  cities  in  this 
enterprising  State  are  quite  creditable ;  others 
are  used  to  illustrate  the  educational  inter- 
ests ;  and  we  might  include  in  this  series, 
the  State  Prison  at  Waupin.  One  of  the 
gems  of  the  collection  is  the  Wisconsin 
State  capitol  at  Madison.  A  very  interest- 
ing series  of  smaller  views  represents  the 
various  departments  of  the  Wisconsin  In- 
dustrial School  for  Girls,  which  must  he  a 
very  excellent  institution.  Another  series 
is  of  the  Wisconsin  State  Normal  School, 
and  still  another  of  the  Wisconsin  Female 
College.  Wisconsin  is  evidently  well 
schooled,  as  well  as  well  photographed.  A 
still  smaller  collection  is  of  the  various 
school  buildings  in  the  State,  and  thus  pho- 
tography is  made  here  to  do  a  most  useful 
work  in  informing  the  public  of  the  condi- 
tion of  affairs  in  Wisconsin.  Among  the 
pictures  of  schools  and  school  neighborhoods, 
we  find  one  labelled  "  Artician  Well  at 
Prairie  du  Cheen,  960  feet  deep  " — much 
deeper  than  the  spelling,  we  opine.  Some 
amateur  work  is  here,  especially  a  view  of 
the  District  School  No.  5,  Sugar  Creek, 
which  the  photographer,  either  through 
ignorance,  or  from  a  hidden  spring  of  irony 
and  humor,  has  taken  with  his  camera 
pointed  upwards.  As  the  school  has  a  broad 
piazza  in  front,  crowded  with  people  stand- 
ing on  the  edge  of  the  steps,  and  as  the 
house  recedes  backwards,  presenting  the  ap- 
pearance of  a  sudden  earthquake  in  the  rear, 
it  would  appear  that  those  persons  were 
very  desirous  of  leaving  the  falling  struc- 
ture, following  in  this  respect  the  worthy 
example  which  the  family  of  rodents  have 
given  us,  of  leaving  a  sinking  ship.  The 
Milwaukee  public  schools  are  very  finely 
illustrated  by  a  series  of  twenty-five  splendid 
photographs,  made  apparently  by  Mr.  W. 
A.  Armstrong,  although  unfortunately  the 
name  of  the  photographer  is  hidden.  Why 
this  should  so  often  be,  we  cannot  under- 
stand. Photographers  should  maintain  their 
dignity,  and  always  have  their  names  shown 
upon  their  pictures.  We  have  had  a  battle 
in  this  direction  in  our  New  Orleans  work; 
many  objected  to  the  name  of  the  photog- 
rapher being  upon  the  mounts,  looking  upon 
it  as  an  advertisement ;   but  we  are  trying 


to  educate  the  people  in  this,  for  if  they 
wish  them  without  our  name  on,  they  will 
have  to  go  without  the  photographs.  A 
frame  of  portraits  by  our  old  friend  Mrs. 
Lockwood,  of  Eipon  Wis.,  in  the  style  called 
"Egyptian,"  graces  the  walls  of  the  Com- 
missioners' Office  of  Wisconsin.  It  is  a  pity 
they  are  not  hung  in  better  light,  for  they 
are  worthy  of  it.  Some  other  specimens  of 
portraiture  by  Mrs.  Lockwood  also  hang 
here,  one  of  a  bride  being  the  gem  of  the 
series.  This  lady  is  again  represented  in 
the  woman's  department  of  her  State  by  a 
very  pretty  frame  of  portrait  work  of  various 
kinds,  mostly  cabinet  size. 

Indiana.  In  the  Indiana  section  the 
various  charitable  institutions  of  the  State 
for  the  education  of  the  blind,  for  the  treat- 
ment of  the  insane,  the  court-houses,  and 
public  buildings,  are  illustrated  by  a  small 
series  of  photographs.  Much  to  our  relief,  we 
find  in  this  section  a  fine  collection  of  portraits 
by  our  friend  Mr.  D.  R.  Clark,  of  Indianapo- 
lis; a  very  fine  collection,  indeed,  that  was  lost 
to  our  regular  photographic  department  by 
Mr.  Clark's  apparent  State  pride.  Some  of 
his  groups  of  children  are  particularly  lovely 
and  lifelike,  and  the  same  may  be  said  of 
the  older  figures.  Several  lifesized  portraits 
by  Mr.  Clark  are  excellent,  especially  one 
of  an  old  lady.  The  same  may  be  said  of 
the  portrait  of  Vice-President  Hendricks. 
A  small  collection  of  views  of  ''Cedar  Farm," 
a  summer  resort,  by  C.  Heimberger  &  Son, 
New  Albany,  Ind.,  is  worthy  of  note. 
Some  small  frames  of  views  of  Baden 
Springs  are  quite  pretty  here,  and  some 
photographs  of  cattle  in  groups  and  singty 
are  also  well  done.  Part  of  this  collection 
is  by  Schreiber  &  Sons,  Philadelphia.  A 
series  of  photographs  is  also  hung  here  of 
bits  of  the  architectural  decorations  of  the 
Court-house  at  Lafayette,  Ind.,  which  are 
very  interesting,  and  give  photography  a 
chance  to  make  itself  useful  in  this  direc- 
tion. Some  very  bad  photographs,  indeed, 
of  the  Rice  Polytechnic  Institute  are  also 
placed  here  in  very  elaborate  frames,  but 
the  frames  do  not  make  up  for  the  bad  work. 
Very  fortunately,  only  the  residence  of  the 
photographer  is  given,  and  that  we  with- 
hold lor  the  credit  of  our  art. 

Michigan.     In    the   ladies'  parlor  of  the 


THE    PHILADELPHIA    PHOTOGRAPHER. 


165 


Michigan  section  we  find  two  very  credit- 
able photographs  of  street  scenes  in  Grand 
Kapids,  by  C.  L.  Merrill  &  Co.,  of  that  city. 
The  public  school  buildings  of  the  city  of 
Detroit  are  very  amply  illustrated  by  a 
series  of  photographs,  which  surround  a  fine 
map  of  Detroit,  where  stay  the  "  Free 
Press"  and  the  "Lime  Kiln  Club."  The 
University  of  Michigan  also  uses  photog- 
raphy very  extensively  to  illustrate  its  work. 
Some  views  of  the  Library  and  Musem  are 
very  fine — the  photographer  forgotten.  The 
State  educational  institutions  of  Michigan 
also  make  a  very  fine  display  by  means  of 
our  art.  This  collection  includes  the  asylums 
for  the  insane,  Michigan  State  University, 
House  of  Correction,  State  capitol,  State 
Normal  School,  Agricultural  College,  School 
for  the  Blind,  Institution  for  the  Deaf  and 
Dumb,  the  Reform  School,  etc.  Thus  the 
whole  creditable  display  is  made  to  serve  a 
most  useful  purpose  in  illustrating  the  en- 
terprise and  public  spirit  of  the  people  of 
Michigan.  Another  series  is  of  the  denomi- 
national colleges  and  public  schools  in  the 
various  cities  of  Michigan.  Some  albums 
in  this  department  also  include  fine  series 
of  views  of  natural  scenery  in  Michigan, 
scenery  of  great  beauty,  of  which  the  State 
is  so  full.  The  "Wolverine  Chair  and  Fur- 
niture Company  of  Grand  Rapids  make  use 
of  photography  to  illustrate  their  manufac- 
tures. We  believe  there  are  more  classes  of 
furniture  made  here  than  in  any  other  city 
of  the  United  States,  and  photography  is 
used  to  sell  them. 

Ohio.  The  natural  scenery  of  Ohio  is 
well  represented  in  the  department  of  this 
State  by  photography,  but  who  the  talented 
photographer  was  who  has  given  us  such 
splendid  pictures,  we  know  not.  His  work 
is  hanging  all  through  this  section,  and  it 
is  a  great  pity  that  we  should  not  know  his 
name.  The  Ohio  Penitentiary,  public 
schools,  and  various  other  institutions,  are 
also  remembered  by  means  of  our  art.  The 
Nile  Tool  Works  of  Hamilton,  Ohio,  illus- 
trate their  splendid  machinery  by  the  same 
means.  The  photographs  are  very  fine,  in- 
deed, of  their  kind ;  the  photographer  re- 
mains in  oblivion.  The  Ohio  Reform  School 
tells  the  public  of  its  various  departments  by 
a  series  of  sixteen  photographs,  made  un- 


doubtedly by  some  of  the  amateur  talent  of 
the  school.  Whoever  the  individual  was,  he 
has  forgotten  to  level  his  camera,  or  his  out- 
fit had  no  swing  back  or  swing  front.  The 
Girls'  Industrial  Home,  one  of  Ohio's  most 
useful  and  praiseworthy  institutions,  shows 
better  photography,  and  also  a  fine  series  of 
views  of  its  various  buildings.  If  this  was 
done  by  one  of  the  pupils  of  the  school,  cer- 
tainly the  lady  amateur  is  the  best.  A  very 
interesting  series  of  photographs  of  relics 
found  in  the  mountains  of  Ohio  is  contained 
in  one  of  the  cases  here,  together  with  the 
implements  from  which  the  photographs 
were  made.  Strange  to  say,  not  a  single 
example  of  portraiture  graces  the  Ohio  de- 
partment. 

In  regular  order  of  arrangement,  we  now 
come  to  the  cross  section  of  the  U.  S.  Gov- 
ernment Department;  but,  as  we  propose 
to  make  memoranda  of  the  Government 
photographs  separately,  we  arrive  next  at 
the 

Texas  Department.  Some  panoramic 
views  of  Galveston  interest  and  call  forth 
admiration  in  this  section  ;  they  are  in  four 
series,  generally  from  11  x  14  plates,  and 
were  made  by  Ferdinand  Guerrero.  Messrs. 
Sprain  &  Snell,  of  Brenham,  Texas,  display 
a  very  fine  collection  of  well-arranged  views 
of  their  State.  The  church  architecture  of 
Galveston  is  finely  represented  by  the  views 
of  Mr.  N.  J.  Clayton,  of  that  city.  Some 
fine  views  of  residences  are  also  exhibited 
by  Mr.  Clayton.  Mr.  H.  B.  Hillyer,  Aus- 
tin, and  Messrs.  Williams  &  Lenox,  of 
Denton,  each  contribute  a  series  of  views  of 
various  parts  of  the  State,  and  the  public 
school  buildings  of  the  State  are  finely  illus- 
trated by  a  large  series  of  pictures  made  by 
Mr.  A.  M.  Galloway,  of  San  Antonio,  and 
others.  This  collection  is  a  very  large  one, 
and  the  collector  has  apparently  been  occu- 
pied many  years  in  gathering  it.  The 
growth  of  photography  might  well  be  illus- 
trated by  this  series,  so  varying  is  it  in 
qualit}'.  Some  of  the  views  are  very  fine, 
while  some  it  would  scarcely  be  possible  to 
make  worse ;  nevertheless,  the  series  well 
represents  the  school  architecture  of  the 
State,  and  well  may  the  State  be  proud  of 
it.  A  frame  of  views  of  Columbus,  is  skied 
so  badly  that  we  cannot  read  the  name  of 


166 


THE   PHILADELPHIA    PHOTOGKAPHEP. 


the  unfortunate  photographer,  although  it 
is  the  best  series  of  views  in  this  depart- 
ment. Fry  &  Brunig,  Cuero,  Texas,  dis- 
play a  small  frame  of  illustrations  of  the 
Mier  Expedition  of  1842 ;  they  are  more 
thrilling  than  excellent.  We  now  find 
another  collection  of  architectural  views 
from  17  x  21  plates  of  Austin  City,  by  Mr. 
H.  B.  Hillyer;  these  are  certainly  the  gems 
of  the  Texas  Department,  and  do  credit  to 
the  talented  photographer.  The  Denison 
gate,  a  very  artistic  erection  in  the  Texas 
Department,  emblematical  of  the  Gate  City, 
is  decorated  largely  by  means  of  photog- 
raphy. One  of  the  most  interesting  speci- 
mens here  is  the  portrait  of  Sam  Hanner, 
"Denison's  first  boy,  born  Dec.  4,  1872." 
Sam  is  a  bright-looking  boy,  and  is  proba- 
bly an  amateur  photographer. 

Louisiana.  Louisiana,  of  course,  gives 
her  photographers  an  opportunity  to  illus- 
trate the  manufacture  of  sugar,  so  that  we 
have  by  some  of  her  nameless  artists  splen- 
did photographs  of  cane  crushers,  vacuum 
pans,  steam  drains,  and  sugar  houses,  to- 
gether with  some  fine  views  of  sugar  plan- 
tations. The  rice  interest  of  the  State  is 
also  beautifully  illustrated  by  means  of  pho- 
tography. Thus  we  have  not  only  the 
mills  at  large,  but  interesting  views  of  rice 
hullers,  elevators,  screen  mills,  and  rice 
pounders,  which  are  very  interesting  to 
those  who  do  not  understand  the  trouble 
necessary  to  produce  the  wherewithal  to 
make  our  national  and  favorite  dessert. 
Scenes  of  farm  life  of  Louisiana  are  also 
finely  illustrated  by  photographs  by  Mr.  G-. 
F.  Mugnier,  of  New  Orleans.  Messrs.  Lilien- 
thal  &  Co.  also  exhibit  a  fine  frame  of  views 
of  varied  Louisiana  scenery,  including  some 
splendid  pictures  of  live  oaks,  of  sugar 
mills  and  machinery,  cemeteries,  etc.  A 
large  series  of  antique  stereoscopic  views 
hang  in  close  proximity  to  this  frame,  but 
cannot  be  by  the  same  photographer,  though 
we  are  not  informed  who  the  photographer 
was.  The  gem  of  the  whole  collection  in 
this  department  is  a  view  of  "  Cotton  Pick- 
ing," by  Mr.  Mugnier.  Although  a  scene 
of  the  present  time,  it  also  is  representative 
of  the  past,  for  in  this  line  matters  have 
not  changed  much  since  the  war.  Mr. 
Mugnier  certainly  takes  the  palm  in  this 


State  by  his  landscape  photographs,  and  is 
a  most  industrious  and  tasteful  worker. 

Mississippi.  Mississippi  comes  out  very 
poorly  in  the  line  of  photography,  our  art 
being  used  here  only  to  represent  a  series  of 
views  of  the  Agricultural  and  Mechanical 
College  of  the  State  ;  the  cow  shed,  the  en- 
gine house,  the  college  herd,  a  group  of 
students  ready  for  work,  group  of  students 
under  arms,  and  a  group  of  the  Faculty  and 
their  officers,  make  up  the  series.  Dr.  0. 
M.  Blanton,  the  fhtned  bee-keeper  of  this 
State,  displays  some  fine  views  of  his  apiary. 

Tennessee.  Tennessee  uses  photography 
to  illustrate  her  splendid  mountain  scenery, 
and  we  see  our  art  also  employed  here  in 
another  industry,  viz.,  in  the  illustrations 
of  mineral  springs  at  Tate  Springs,  East 
Tenn.  The  barreling  and  bottling  of  the 
water,  the  various  houses  of  entertainment 
in  the  neighborhood,  with  a  very  fine  topo- 
graphical view  of  the  surrounding  scenery, 
are  all  given  in  a  collection  by  a  photog- 
rapher who  is  sunk  into  obscurity.  As  this 
series  is  thrice  repeated,  we  are  debarred 
from  finding  fault  with  Tennessee  for  not 
making  a  more  elaborate  photographic  dis- 
play. Mr.  Schlier,  Nashville,  Tenn.,  has  a 
series  of  very  pretty  views  of  picnic  parties, 
a  fine  collection  of  rural  scenes,  etc.,  which 
deserves  to  be  larger  ;  the  quality  is  excel- 
lent. A  large  collection  of  cattle  pictures 
by  Schreiber  &  Sons  graces  the  Tennessee 
Agricultural  Department,  and  is  a  beautiful 
accompaniment. 

Kentucky.  Kentucky  certainly  takes  the 
palm  in  the  line  of  photography.  First, 
though  not  always  foremost,  is  a  collection 
of  some  sixty  photographs  from  13  x  15 
plates  of  the  blue  grass  region  of  Kentucky, 
which  have  been  very  tastefully  colored. 
It  is  the  only  series  of  the  kind  ;  the  only 
fault  we  have  to  find  with  it  is,  that  both 
the  name  of  the  photographer  and  the  painter 
are  kept  from  us.  There  are  enough  uprights 
covered  with  photographs  hung  here  to  make 
a  very  respectable  national  photographic 
exhibition.  Every  interest  of  the  State  al- 
most is  represented,  including  views  of  the 
Swiss  colony  at  Bernstadt,  of  the  vineyards, 
of  the  orchards,  of  the  sugar  plantations,  of 
the  hemp  farms,  of  the  factories,  of  the 
pasture  fields,  of  the  public  buildings  and 


THE    PHILADELPHIA    PHOTOGRAPHER. 


167 


public  school  buildings,  of  the  stock  farms, 
of  the  residences,  of  the  race  courses,  of  the 
fair  grounds,  of  barbecues,  of  the  cotton 
fields,  tobacco  plantations,  the  charcoal 
burnings,  mining  interests,  natural  scenery, 
household  scenes,  the  geological  interests, 
the  schools,  the  lumber  interests,  vegetables, 
grains,  flora,  woods,  forestry  and  natural 
springs,  and  of  every  conceivable  industry 
and  enterprise  that  is  practised  in  the  State 
of  Kentucky — in  all,  two  or  three  thousand 
views.  A  space  about  300  by  12  feet  is  en- 
tirely occupied  with  transparencies,  certainly 
the  largest  collection  we  have  ever  seen. 
All  of  the  interests  that  we  have  mentioned 
are  again  illustrated  here,  together  with  a 
number  of  others.  There  is  a  great  variety 
of  work  here  also,  some  of  it  being  very 
excellent,  and  some  of  it  very  inferior. 
Some  of  the  transparencies  have  been  insuf- 
ficiently washed,  and  are  quite  yellow  and 
brown  and  red  and  green.  It  would  be 
hard  to  pick  out  the  gems  of  the  collection. 
One  of  those  that  attracts  us  the  most  is  an 
old  cabin,  labelled  "Butter-making,  Bour- 
bon Co."  It  is  a  picturesque  bit,  represent- 
ing one  of  those  lovely  old  cabins  that  are 
few  in  number  now  in  our  country,  together 
with  the  dairyman  and  his  daughter  en- 
gaged in  their  work.  Some  views  of  tobacco 
fields  and  sugar  plantations  are  also  very 
line ;  while  some  of  the  pictures  of  the 
sheep  and  animals  are  as  lovely  as  anything 
could  possibly  be  made  by  means  of  our 
blessed  art.  This  collection  is  largely  due 
to  Mr.  Proctor,  the  State  Geologist  of  Ken- 
tucky, who  was  assisted  largely  by  Mr. 
James  Mullen,  of  Lexington,  and  Mr.  Wm. 
Bell,  of  Philadelphia.  The  transparencies 
vary  in  size  from  11  x  14  to  17  x  21 ;  as  a 
rule,  they  are  worthy  of  the  highest  praise. 
As  a  collection,  the  series  i"unique.  Never 
before  was  anything  displayed  so  extensive 
and  so  elaborate,  covering  so  much  variety 
as  this  one.  In  the  headquarters  of  the 
State  Commissioners  is  a  frame  of  very  fine 
photographs  of  the  officers  of  the  Colleges, 
including  one  of  Mr.  Proctor  himself — the 
photographer,  whisper  it  not — nameless,  but 
we  are  informed  that  most  of  them  were 
made  by  our  friend  Mr.  Mullen.  The  gem 
of  the  portrait  collection  is  a  17  x  21  trans- 
parency, life  size,  of  J.  Proctor  Knott,  Gov- 


ernor of  Kentucky.  Of  course,  a  collection 
of  pictures  by  Mr.  Mullen  could  not  exist 
without  some  of  his  horses,  which  are  un- 
doubtedly the  best  that  are  made.  The 
school  interests  are  also  finely  illustrated. 

We  now  go  back  to  the  north  side  of  the 
Government  Building,  the  east  section,  and 
there,  in  the  exhibit  of  the  East  Tennessee 
&  Western  North  Carolina  Eailwa}',  we  find, 
first,  a  revolving  stereoscopic  box  filled  with 
illustrations  of  the  Cave  of  Luray,  and  af- 
terwards several  frames  of  20  x  20  prints  of 
the  Doe  Biver  Gorge  and  Doe  Biver  Nar- 
rows, by  Mr.  C.  H.  James,  of  Philadelphia. 

In  the  office  of  the  Bichmond  &  Danville 
Bail  way  we  find  a  number  of  photographs 
of  scenery  on  the  Piedmont  air  line,  and  in 
one  corner  we  see  they  were  made  by  Mr 
C.  M.  Bell,  of  Washington.  This  illustra- 
tion of  modern  photographic  push  is  bal- 
anced by  an  old  sign  post  which  graces  the 
latter  picture,  from  which  we  learn  that  the 
distance  "  to  Antioch  is  3  miles,"  and  our 
readers  will  please  figure  up  the  rest. 

The  Georgia  Pacific  Railway  Co.  exhibits 
a  series  of  small  photographs  illustrating 
the  timber  interests  of  Georgia.  Among 
the  many  scenes  of  the  wildwood,  as  wild  as 
wild  can  be,  we  see  the  steamboat  has  pushed 
its  way  to  the  head  of  navigation  on  Wor- 
rior  Biver,  in  strong  contrast  with  the  primi- 
tive forest. 

Oregon.  In  the  Oregon  section  we  find 
a  frame  of  photographs  of  the  school 
buildings  of  the  State,  which  are  very  well 
taken,  the  only  representation  of  our  art  in 
Oregon. 

Wyoming.  The  Wyoming  section  is  rich 
in  photography,  the  Yellowstone  National 
Park  giving  the  camera  there  such  an  op- 
portunity for  its  talent  as  is  supplied  by  but 
few  places  in  our  country,  beautiful  as  it  is. 
Here  we  see  the  magnificent  productions  of 
Mr.  William  H.  Jackson,  of  Denver,  and 
Mr.  F.  J.  Haynes,  of  Pargo,  Dakota.  When 
we  see  two  such  masters  in  landscape  art  as 
Messrs.  Haynes  and  Jackson  hanging  their 
works  side  by  side,  we  expect  a  great  treat. 
Their  specimens  here,  of  course,  illustrate 
the  Yellowstone  National  Park  and  its 
wondrous  natural  beauties,  as  well  as  Indian 
life,  railway  travel,  mining,  manufacturing, 
and  what-not  that  pertains  to  that  splendid 


168 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


country  which  is  being  so  rapidly  developed. 
Two  suggestive  pictures  hang  close  to  each 
other.  One  is  a  group  of  Indians  sitting  in 
their  pow-wow,  while  near  it  we  see  the 
sign-board  post  on  which  reads,  "  Lake  Su- 
perior, 1198  miles ;  Puget  Sound,  847 
miles ;"  while  below  this  is  a  picture  of  the 
good  steamer,  with  her  various  passengers, 
crossing  Snake  Kiverin  full  push,  the  water 
at  her  stern  wheel  improving  the  compo- 
sition. Railway  construction  is  also  illus- 
trated by  a  number  of  these  views.  Mr. 
Haynes  also  exhibits  a  frame  of  portraits  of 
North  American  Indians,  which  represents 
his  best  work. 

Montana.  In  the  Montana  section  we 
find  a  series  of  11  x  14  views  illustrating  the 
mining  interests  in  that  section,  together 
with  views  of  the  cities,  public  buildings, 
smelting  works,  mills,  crushers,  and  other 
structures  devoted  to  the  interests  of  that 
great  region.  A  view  of  Helena,  Montana, 
in  1866,  tells  of  the  hardships  and  deprivation 
which  the  early  settlers  must  have  endured. 

Washington  Territory.  In  the  depart- 
ment of  the  "Washington  Territory,  we  find 
a  very  pretty  cabinet  of  natural  scenery  of 
seatile,  by  Mr.  Peiser. 

Idaho.  Mr.  Wm.  H.  Jackson,  of  Den- 
ver, again  comes  to  our  help,  and  illustrates 
the  scenery  of  Idado,  which  we  find  dis- 
played in  that  section.  Also  a  series  of 
views  by  Watkins,  of  San  Francisco,  of 
Columbia  River  scenery. 

Kansas.  In  the  Kansas  section  we  find 
a  photograph  illustrating  the  stock  yards  of 
Kansas  City.  A  double  panoramic  view, 
16  x  40,  without  name.  Some  of  the  apart- 
ments of  the  yard  are  filled  with  live  cattle, 
and  near  by  are  the  railway  appliances  for 
moving  the  stock  to  various  parts  of  the 
world.  The  school  buildings  of  the  State 
are  also  illustrated  by  means  of  photography 
here,  but  we  expected  to  see  a  much  better 
display  of  our  art  from  Kansas  than  there  is. 

Chicago,  Milwaukee  §  St.  Paul  R.  R.  A 
very  pretty  structure,  made  up  of  grains 
and  grasses  on  the  Chicago,  Milwaukee  & 
St.  Paul  Railway,  is  very  finely  decorated 
by  means  of  photographs  of  scenes  along 
the  route  of  this  great  line  of  travel,  by  W. 
A.  Armstrong,  of  Milwaukee,  "Wis.  The 
interior  of  the  structure  is  decorated  with 


photographs  of  the  Exposition  by  the  Cen- 
tennial Photographic  Company.  These 
photographs  are  very  tastefully  framed  by 
a  picturesque  arrangement  of  ferns  and 
grasses.  The  whole  structure  is  a  very 
pretty  illustration  of  what  may  be  done  by 
means  of  art  and  agriculture  combined.  A 
fine  series  of  stereoscopic  views,  by  Elmer 
&  Tenney,  Winona,  Minn.,  decorates  the 
western  end  of  the  structure,  and  very  ex- 
cellent views  are  they,  indeed.  Mr.  Arthur 
G.  Phillips,  an  amateur  of  Sioux  Falls, 
D.  T  ,  gives  us  a  fine  frame  of  views.  A 
frame  of  very  excellent  stereoscopic  views 
by  Mr.  Muson  at  Sioux  Falls  is  also  here. 
Photography  is  also  represented  in  some 
public  school  buildings  of  the  States  along 
the  line  of  their  railway,  by  Mr.  Butler,  a 
photographer  of  Vermillion,  D.  T. 

Massachusetts.  Massachusetts  gives  us  a 
good  many  illustrations  of  bits  of  the  indus- 
tries of  the  "centre  of  the  world;"  among 
the  finest  of  which  we  find  some  photographs 
by  Mr.  A.  H.  Folsom,  of  Roxbury,  Mass., 
of  the  wharf  and  fish  market  of  Boston,  and 
other  views  representing  the  fishing  and 
shipping  interests  of  Massachusetts.  Some 
fine  views  of  the  Hoosac  Tunnel  along  the 
line  of  the  Troy  &  Greenfield  Railroad,  by 
a  nameless  photographer,  also  help  to  make 
beautiful  the  Massachusetts  section ;  and 
another  series,  illustrating  the  State  Normal 
School  at  Bridgewater,  is  also  very  fine. 
The  interior  views  of  the  art  room,  class 
room,  assembly  room,  laboratory,  and 
dining  room,  are  also  very  excellent..  A 
rather  antique  series  of  larger  photographs 
gives  us  a  fine  series  of  views  of  the  public 
school  buildings  in  various  cities  of  Massa- 
chusetts. Another  series,  largely  of  dia- 
grams illustrating  the  machinery  and  timber 
used  in  the  construction  of  the  Hoosac 
Tunnel,  is  also  fine.  The  Massachusetts 
Institute  of  Technology,  where  there  is  such 
a  fine  photographic  laboratory  under  the 
direction  of  Prof.  Pickering,  does  not  fail 
to  illustrate  its  architecture,  at  least,  by  a 
series  of  very  excellent  photographs.  An- 
other series  from  the  same  source  is  of  the 
celebrated  test  machine  used  in  the  Insti- 
tute, and  of  the  various  mechanical  depart- 
ments, such  as  the  forge  shop,  filing  shop, 
drawing    room,    machine    shop,    foundry, 


THE    PHILADELPHIA    PHOTOGEAPHEE, 


169 


pattern  shop,  carpenter  shop,  mining  and 
laboratorj',  apartment  of  mechanical  en- 
gineering, and  the  Harris  Corliss  engine, 
with  a  variety  of  pumps,  test  gauges,  dyna- 
mometers, and  other  things  used  in  that 
splendid  Institute.  A  fine  view  of  Chaun- 
cey  Hill  School  hangs  over  the  office  door 
of  the  Massachusetts  Commissioner,  and  is 
well  worthy  of  that  honored  position.  The 
Heliotype  Printing  Company,  James  K. 
Osgood,  Boston,  make  a  fine  display  of  their 
works,  principally  of  art  subjects.  Some 
of  them  in  color  are  very  nicely  done,  in- 
deed. The  work  of  this  Company  is  so 
celebrated  that  it  needs  no  more  than  a 
passing  notice.  Some  examples  of  silk  and 
satin  are  also  very  fine. 

New  Hampshire.  In  the  New  Hampshire 
section  we  find  some  of  the  famous  views  of 
the  White  Mountain  region,  by  Mr  D.  W. 
Butterfield,  Cambridgeport,  Mass.  Mr.  F. 
W.  C.  Kimball,  Concord,  1ST.  H.,  is  honored 
by  the  hanging  of  his  splendid  picture  of 
the  State  Capitol  over  the  door  of  the  Com- 
missioner's office.  Some  enlargements  6f 
White  Mountain  scenery  hang  in  the  New 
Hampshire  Department,  but  they  are  with- 
out name. 

Dakota.  Mr.  H.  Butler,  Vermillion,  D.  T., 
makes  a  fine  display  of  photographs  of 
scenery,  the  gem  of  which  is  a  picturesque 
view  of  the  first  schoolhouse  in  Dakota. 
Some  pictures  of  farm  scenes  are  very  well 
taken.  Mr.  J.  M.  Walker,  Hillsboro,  D.  T., 
makes  one  of  the  most  lovely  displays  of 
scenery  in  the  Bed  Biver  valley.  A  list  of 
his  views  has  already  been  published.  It 
represents  harvest  scenes,  farm  life,  the 
lumber  interests,  bridgebuilding,  milling, 
and  manufactures  in  this  interesting  coun- 
try, and  is  a  representative  collection.  One 
of  the  best  pictures  is  the  interior  of  the 
"Banner  Printing  Office,"  at  Hillsboro, 
D.  T.  A  similar  series  of  views  is  shown 
on  the  other  side  of  the  Department,  but  by 
a  photographer  whose  name  we  cannot  find 
out.  The  big  things  done  in  Dakota  are 
finely  illustrated  by  means  of  our  art,  and 
help  very  much  to  an  understanding  of  the 
splendid  exhibit  made  by  this  section  of 
country. 

Nebraska.  The  public  buildings  of  Ne- 
braska are  splendidly  illustrated  by  a  series 


of  some  sixty  views  by  Mr.  E.  L.  Eaton, 
Omaha.  A  fine  group  of  portraits  of  mem- 
bers of  the  Senate  and  House  of  Nebraska, 
by  Clements,  of  Lincoln  ;  a  life-sized  crayon 
portrait  of  J.  W.  Dawes,  Governor  of  Ne- 
braska, by  Noble,  of  Lincoln  ;  and  a  very 
interesting  collection  of  Indian  pictures, 
made  some  years  ago  in  New  York,  grace 
the  walls  of  this  Department.  One  of  a 
group  of  Winnebago  Indian  chiefs,  under 
the  care  of  Governor  Furnas,  who  was  agent 
for  them  at  the  time,  and  who  is  now  U.  S. 
Commissioner  for  the  State  of  Nebraska  at 
the  Exposition,  hangs  at  the  door  of  the 
headquarters.  Over  this  frame  hangs  a 
portrait  of  John  Boss  and  his  wife;  John 
was  a  Cherokee  Indian  chief.  Also  another 
group  of  uneducated  Indian  chiefs  taken  in 
Washington  is  here.  We  must  not  neglect 
to  mention  a  fine  life-sized  portrait  of  Gov 
B.  W.  Furnas,  by  W.  W.  Abbott,  of  Brown- 
ville,  Neb.  Some  illustrations  of  scenery 
in  the  far  northwest  of  Nebraska  also  hang 
here,  and  the  village  of  Long  Pine.  The 
pine  may  be  very  long,  but  the  single  street 
of  the  village  is  like  the  street  called 
Straight,  in  Damascus,  a  misnomer.  Ne- 
braska fruit,  Nebraska  sod  houses.  Nebraska 
asylums,  Nebraska  distilleries,  and  Nebraska 
scenery  are  all  well  represented.  Our  friend 
Mr.  Noble,  of  Lincoln,  also  exhibits  a  vecy 
fine  case  of  cabinet  and  card  portraits,  which 
do  him  great  credit.  His  groupings  of  chil- 
dren are  particularly  creditable,  and  we  are 
glad  to  see  his  enterprise  in  making  such  an 
exhibit  as  this,  although  we  believe  it  would 
have  been  better  placed  did  it  hang  in  the 
photographic  section  of  the  exhibit  proper. 

Rhode  Island.  The  Bhode  Island  section 
includes  some  examples  of  work  by  the 
Lithotype  Company  of  Providence,  illus- 
trating the  moulding  rooms  of  the  Builders' 
Iron  Foundry  of  that  city.  A  very  inter- 
esting series  hangs  in  this  department,  also, 
of  native  island  trees,  the  most  unique  col- 
lection of  its  kind  ;  but,  alas !  without  the 
name  of  the  photographer  attached.  It 
must  be  the  work  of  an  amateur,  since  no 
practical  photographer  would  probably  have 
time  to  make  such  a  splendid  collection.  A 
series  of  illustrations  of  views  of  Brown  Uni- 
versity, Providence,  B.  I.,  and  the  American 
College  are  very  fine.    Among  others  is  one 


170 


THE   PHILADELPHIA    PHOTOGRAPHER. 


of  the  first  public  meeting  house,  erected 
in  1775,  "for  the  worship  of  Almighty 
God,  and  to  hold  commencements  in." 
Some  groups  of  the  children  at  the  Frobel 
School  and  Kindergarten,  Prcvidence,  E.  I., 
are  very  pretty  and  well  taken,  though  they 
will  be  better  taken  when  the  artist  who 
did  them  tries  again  with  quick  plates. 
Several  albums  of  photographs  lie  upon  a 
table  in  this  department,  containing  views 
of  the  public  buildings,  the  educational  and 
charitable  institutions,  the  fire  and  police 
stations,  and  the  public  school  houses.  How 
strange  it  is  that  the  photographer  has  failed 
to  insist  upon  his  name  being  placed  upon 
his  splendid  work !  Another  series  of  views 
is  of  the  "Friends'  School"  at  Providence, 
E.  I.,  a  school  founded  in  1784. 

Vermont.  The  State  of  Vermont  has 
made  good  use  of  photography  in  illustrating 
the  manufactures  of"  the  Industrial  Marble 
Company"  at  Eutland,  Vt.,  hundreds  of 
pictures  being  hung  here  of  various  sculp- 
tured work  of  that  important  industrial 
establishment.  Some  views  of  other  manu- 
facturing interests  in  the  State  are  also 
hung  here,  with  no  name.  The  Vermont 
Novelty  Works  Company  does  not  forget 
to  make  use  of  photography  in  illustrating 
its  manufactures  of  children's  carriages, 
toys,  and  invalid  chairs,  which  fact  shows 
clearheadedness  on  the  part  of  the  far-seeing 
Company. 

Connecticut.  The  Connecticut  Commis- 
sioners have  likewise  applied  to  photography 
for  the  decoration  of  the  neat  little  pavilion 
devoted  to  their  office  purposes.  On  each 
side  of  the  front  door  are  frames  of  views 
of  the  public  buildings  of  New  Haven,  to- 
gether with  a  fine  view  of  Temple  Street, 
with  the  grand  old  elms  on  each  side,  and 
the  buildings  of  old  Yale  showing  beyond. 
We  did  expect  the  photographer  in  the 
Nutmeg  State  would  have  his  name  upon 
his  work,  but  he  has  failed  to  do  so.  Sev- 
eral frames  close  by  contain  some  forty  views 
of  Yale  College,  of  the  buildings,  exteriors 
and  interiors,  and  of  several  of  the  dormi- 
tories, where  the  boys  had  their  rooms  pho- 
tographed. The  work  is  very  excellent,  but 
who  made  it  we  cannot  guess.  The  "Water- 
bury  "Watch  Company  exhibit  two  fine 
views  of  their  factory,  made  by  J.  Eennie 


Smith,  Newark,  N.  J.  The  Scovill  Manu- 
facturing Company,  from  their  "Waterbury 
factory,  send  a  very  fine  collection  of  photo- 
graphic cameras  and  other  apparatus,  of 
amateur  outfits,  of  gun  cameras,  printing 
frames,  plate  holders,  etc.  "  Almacenes 
Para  la  Venta,  423  Broom  Street,  New 
York.    Enviese  for  Catalogos  Descriptivas." 

Maine.  Photography  makes  the  first  ap- 
pearance in  the  Maine  Department  in  the 
way  of  a  series  of  views  of  the  grammar 
and  high  schools  of  Auburn,  Me.  These 
are  followed  by  a  series  of  views  of  the 
school  buildings  of  Bangor,  Gardener,  Lew- 
iston — no  name.  Mr.  J.  C.  Higgins,  Bath, 
Me.,  shows  himself  more  widely  awake  than 
many  another  photographer,  by  seeing  that 
his  name  is  printed  on  a  great  part  of  the 
set  of  views  exhibited  in  the  Maine  collec- 
tion. Mr.  C.  G.  Carleton,  of  Waterville, 
Me.,  is  alike  wide  awake,  since  we  find  his 
name  upon  a  splendid  panoramic  photograph 
of  Colburn  University.  A  series  of  excel- 
lent photographs  of  old  Bowdoin  College, 
Brunswick,  Me.,  together  with  some  excel- 
lent groups  of  pupils,  is  found  lying  upon 
the  table  in  the  Maine  section,  and  near  it 
are  some  views  of  the  normal  school  at  Gor- 
ham,  and  of  the  Maine  State  College.  These 
latter  are  made  by  Jackson  &  Clough,  at 
Brownville.  Another  series  of  the  summer 
resorts  of  the  State  is  shown,  but  the  name 
of  the  photographer  is  not  given. 

Minnesota.  Messrs.  Hoard  &  Penney,  of 
"Winona,  make  the  beginning  in  their  de- 
partment of  their  own  State  by  some  views 
of  the  Porter  Mill  Company  and  Flour 
Mills,  which  are  very  excellent.  The  Wil- 
lowbrook  State  Fishery  and  Hatchery  has 
been  most  carefully  photographed  by  Mr. 
T.  "W.  Ingersoll,  St.  Paul,  who  exhibits  a 
fine  collection  of  views  in  connection  with 
the  fishing  interests  here,  showing  the  work- 
ing of  the  hatchery  in  all  its  various  depart- 
ments ;  from  the  natural  brooks  which  run 
through  the  hatchery,  to  the  apartments  for 
depositing  the  spawn,  and  then  of  groups  of 
fish.  A  frame  of  portraits  of  Crow  Indians, 
one  of  the  most  interesting  collections  of  its 
kind  in  theexhibition,  is  placed  in  the  Minne- 
sota section  by  Miller,  of  Minneapolis.  The 
pictures  have  been  spoiled  somewhat  by  in- 
different coloring  ;  but  beneath  this,  one  can 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


171 


see  that  the  photographs  are  excellent,  and 
the  group  very  natural  and  skilfully  ar- 
ranged. The  State  capitol  of  Minnesota 
and  University  of  Minnesota  have  been 
finely  photographed  and  proofs  hung  here 
by  some  one,  but  who  that  some  one  is,  the 
photographer  or  some  one  else  has  neglected 
to  tell  us. 

The  Minnesota  department  of  lakes  and 
summer  resorts  is  very  finely  illustrated  by 
stereoscopic  and  other  views,  made  evidently 
by  various  photographers.  We  notice  among 
the  names  of  the  artists,  Mr.  J.  A.  McCall, 
Brainard;  T.  W.  Ingersoll,  Wm,  Caswell, 
and  Chas.  A.  Zimmerman,  St.  Paul.  Fish- 
ing and  hunting  are  also  finely  illustrated 
by  a  number  of  photographs.  The  Minne- 
sota winter  industry  of  harvesting  ice  is 
also  amply  illustrated  by  a  series  of  photo- 
graphs which  represent  the  workmen  cut- 
ting ice,  floating  and  hauling  ice,  etc. 
Some  fine  large  views  of  Lake  Minnetonka 
make  beautiful  the  headquarters  of  the  Min- 
nesota Commissioners — "Ye  gods,  we  wish 
we  knew  who  made  them."  Over  the  door- 
way, Mr.  H.  Manderfield  makes  a  fine  dis- 
play of  Maseca.  A  frame  of  portraits  of  the 
distinguished  gentlemen  of  Minnsota,  in- 
cluding Oliver  Gibbs,  the  Commissioner 
from  Minnesota,  and  Col.  Adams,  his  able 
assistant,  also  hangs  from  the  walls  of  the 
office  of  the  Commissioner.  They  were  made 
by  the  various  photographers  of  the  State, 
many  of  whose  names  are  familiar  to  all 
our  readers.  The  central  figure  is  of  Gov. 
L.  F.  Hubbard,  made  by  Greenleaf,  of  St. 
Paul.  The  other  end  of  the  office  of  the 
Commissioners  is  decorated  with  a  series  of 
photographs  of  the  Minnesota  exhibit,  made 
by  the  Centennial  Photographic  Company. 
In  one  corner  of  the  office  is  a  14  x  17  group 
of  four  young  ladies — sisters — who,  near 
Jordan,  Minn.,  alone,  and  without  the  help 
of  man,  conduct  the  work  of  a  large  farm. 
Two  frames  of  views  of  the  construction  of 
the  conduit  of  the  St.  Paul  water  works, 
in  the  Minnesota  section,  are  well  taken, 
and  illustrate  the  progress  of  the  important 
public  work,  thus  again  proving  the  useful- 
ness of  our  ever-useful  art. 

Iowa.  Messrs.  Simmons,  Letteer  &  King, 
Waterloo,  Iowa.,  grace  the  Iowa  section  by 
a  fine  view  of  the  Irvine  House,  made  on  a 


Euby  dry  plate,  manufactured  by  W.  A. 
Langridge,  Clinton,  Iowa.  A  long  line  of 
residences,  public  buildings,  and  churches 
is  also  displayed  here,  of  rather  good  quality, 
but  without  any  clew  as  to  the  dark-room 
wherein  they  were  developed.  The  clouds 
in  some  of  these  views  are  exceedingly  un- 
natural ;  it  is  quite  a  mystery  to  us  to  know 
how  they  were  produced. 

Florida.  A  very  pretty  series  of  photo- 
graphs of  picturesque  Florida  meets  our 
vision  upon  entering  this  interesting  depart- 
ment of  the  Peninsula  State,  and  reminds 
us  of  some  happy  days  in  Egypt  at  one  mo- 
ment, and  then  of  scenes  in  sunny  Spain. 
The  collection  is  very  well  chosen,  and  we 
wish  we  knew  who  made  it.  Another  series 
of  similar  views  of  scenes  on  the  Halifax 
&  Hillsboro  Eailroad,  east  coast  of  Florida, 
represents  almost  every  variety  of  tropical 
scenery,  splendid  live  oaks,  lean  and  lofty 
palms,  rich  orange  groves,  avenues  of  pal- 
mettoes,  lakes,  rivers,  apiaries  and  parks  in 
great  number,  and  all  wonderfully  interest- 
ing. 

South  Carolina.  Upon  the  wall  of  the 
headquarters  of  the  South  Carolina  Com- 
missioners' office,  are  some  good  photographs 
of  guano  manufacture;  they  are  excellent 
in  quality,  and  do  credit  to  the  name  of  the 
photographer,  whose  name  is  unknown, 
however.  The  same  photographer  probably 
is  responsible  for  a  series  of  fine  photographs 
of  the  phosphate  works  of  South  Carolina, 
near  Charleston.  They  are  well  taken  on 
plates  14  x  17,  and  these  are  the  only  repre- 
sentations of  photography  in  the  South 
Carolina  section. 

North  Carolina.  In  the  North  Carolina 
Department  we  find  some  very  interesting 
photographs  representing  the  fishing  inter- 
ests of  the  State  ;  one  of  a  tremendous  whale, 
of  fishing  with  the  long  line,  of  some  twent}^ 
fishermen  engaged  in  their  work,  are  very 
well  taken.  At  the  rear  of  this  exhibit  are 
several  photographs  representing  scenery 
on  the  various  railroads  of  the  State,  some  of 
which  we  find  are  by  our  friend  Mr.  James 
Mullen,  Lexington,  Ky.  Some  of  these 
represent  the  construction  of  iron  bridges, 
and  are  exceedingly  interesting  as  well  as 
photographically  first  class.  The  Univer- 
sity of  North  Carolina  is  very  finely  photo- 


172 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


graphed  in  its  various  departments,  outside 
and  in.  The  gem  of  the  collection  is  a  view 
of  "Memorial  Hall"  during  its  construc- 
tion. A  view  of  the  campus  is  also  very  well 
done,  and  an  example  of  excellent  photog- 
raphy;  all  were  made  by  Dr.  B.  Von  Herff. 
A  large  collection  of  photographs  of  this 
gentleman  is  in  the  office  of  the  Commis- 
sioner for  North  Carolina,  showing  him  to 
be  an  amateur  of  no  mean  talent. 

Virginia.  In  the  "West  Virginia  Geo- 
logical Department  we  find  Mr.  F.  Jay 
Haynes,  of  Fargo,  D.  T.,  again  represented 
by  a  series  of  the  Yellowstone  region,  which 
has  been  noticed  in  the  Wyoming  section 
already.  Fish  culture  and  fL-hing  are  again 
illustrated  by  means  of  photography  in  this 
department,  with  a  tine  series  of  views  better 
taken  than  others  that  have  been  noticed. 
Some  17  x  21  views  of  Luray  Cave  are  also 
shown  in  the  Virginia  Department,  made 
by  Mr.  C.  H.  James,  Philadelphia,  Pa. 
The  same  gentleman  exhibits  a  series  of 
about  two  dozen  panoramic  views  from 
15  x  30  plates,  of  views  in  Shenandoah  Val- 
ley, of  the  Natural  Bridge,  and  on  the 
Norfolk  and  Western  Railroad,  which  are 
not  excelled  by  anything  else  in  their  line. 
What  a  splendid  appearance  this  exhibit 
would  make  in>  the  regular  photographic 
department !  We  are  satisfied  that  the 
reason  that  department  is  so  deficient  is, 
that  the  railroad  companies  have  shown 
more  pride  in  collecting  illustrations,  than 
the  photographers  have  shown  of  pride  in 
their  art.  A  smaller  collection  of  views  of 
the  resorts  of  Virginia  is  also  here  shown  ; 
they  are  of  excellent  quality,  but  we  regret 
to  say  that  no  clew  is  given  as  to  who  made 
them.  The  Lee  Gallery,  Yorktown,  Va., 
contributes  a  collection  of  views,  the  gem 
of  which  is  one  of  the  old  Moore  House  at 
Yorktown,  Va.  The  manufacturer  of  the 
celebrated  meat  juice  at  Richmond,  Va., 
uses  photography  to  illustrate  the  various 
departments  of  its  manufacture,  and  a  living 
specimen  of  the  source  from  which  the  meat 
juices  are  obtained — a  live  bull.  A  manu- 
facturer of  cedarware  has  also  made  pho- 
tography useful  to  him  in  exhibiting  his 
very  beautiful  exhibit  placed  near  by.  A 
frame  of  the  officers  and  Faculty  of  the 
Richmond  College  of  Virginia  is  here  ;   the 


pictures  are  by  Foster  Campbell  &  Co., 
Richmond.  Photography  is  made  use  of  in 
the  Virginia  section  to  show  us  the  faces  of 
our  ancestors  by  reproducing  a  large  collec- 
tion of  crayons,  oil  portraits,  drawings  of 
the  old-time  Governors  and  other  public 
officers  of  Virginia. 

New  Fork.  Mr.  F.  Waller,  of  New 
York,  displays  a  series  of  twelve  14x17 
photographs  of  the  manufacturers  of  the 
John  Stephenson  Car  Co..  Here  are  cars 
and  omnibuses,  manufactured,  not  only  for 
our  own  country,  but  for  Mexico,  China, 
and  other  countries,  of  the  various  kinds 
with  which  the  travelling  public  is  familiar. 
Neilson,  of  Niagara  Falls,  exhibits  six 
frames  of  views  of  the  great  cataract,  which 
are  simply  magnificent ;  they  are  from . 
17  x  21  plates.  Helped  by  the  natural 
beauty  of  the  scenery,  Mr.  Neilson  has  per- 
haps been  able  to  display  the  finest  effect  of 
light  and  shade  in  the  whole  exhibition. 
Now  we  find  photography  used  in  the  New 
York  Department  to  illustrate  remarkable 
excavations,  rich  buildings,  locomotive  con- 
struction, and  elevated  railways,  but  we 
have  not  an  idea  who  helped.  The  Dela- 
ware &  Hudson  Canal  Company  have  col- 
lected a  magnificent  series  of  vie  ws  of  natural 
scenery  along  their  route,  in  the  most  of 
which  we  think  we  recognize  the  indi- 
viduality of  our  friend  Mr.  S.  R.  Stoddard, 
of  Glen  Falls.  But  here  we  must  stop 
until  our  next. 


HYPO  IN  GELATINE  NEGATIVES. 

When  is  the  hypo  out  of  gelatine  nega- 
tives ?  was  asked  from  the  question  box, 
Philadelphia  Photographic  Society.  This 
important  question  got  but  few  answers,  and 
those  but  "ill-digested."  The  writer  has 
for  guide,  viz.,  plates  that  develop  and  fix 
quick,  hypo  washes  out  of  quickly.  Plates 
slow  in  developing,  and  very  slow  in  fixing 
will  be  very  slow  in  having  the  hypo  washed 
out — in  fact,  with  such  plates  one  is  never 
sure  that  the  hypo  is  ever  got  rid  of.  Such 
plates  give  up  the  hypo  better  by  soak- 
ing than  being  washed  directly  under  the 
tap  Hypo  in  gelatine  negatives  is  not  so 
destructive  as  in  collodion,  but  finally  will 
destroy  them.     I  have  negatives,  gelatine, 


THE    PHILADELPHIA    PHOTOGKAPHEE. 


173 


five  years  old  that  have  hypo  in  them,  and 
yet  are  used  to  produce  good  prints  from 
them.  The  test  whether  hypo  is  out  of  any 
gelatine  negative,  take  a  plate  that  has  been 
given  the  supposed  washing  to  rid  it  of 
hypo,  put  it  on  a  levelling  stand,  cover  it 
with  water,  let  it  remain  there  some  twenty 
minutes,  now  pour  this  water  into  a  weak 
solution  of  bichloride  of  mercury  ;  if  a  pre- 
cipitate is  produced  the  plate  has  not  been 
sufficiently  washed  ;  if  the  mercury  solution 
remains  clear,  one  can  be  reasonably  sure 
that  the  hypo  is  out. 

Bell,  Photographer, 

Philadelphia,  Pa. 


SOCIETY  GOSSIP. 

The  Photographic  Society  of  Phila- 
delphia.— Minutes  of  the  regular  meeting, 
held  Wednesday  evening,  May  6,  1885, 
the  President,  Mr.  Joseph  W.  Bates,  in 
the  Chair. 

The  Lantern  Exhibition  Committee  pre- 
sented a  report  stating  that  an  exhibition 
had  been  held  April  8th,  at  Association 
Hall,  at  which  169  pictures  were  shown, 
145  were  from  negatives  made  by  52  mem- 
bers, and  24  were  selected  from  pictures 
taken  in  India  by  Mr.  Charles  K.  Pancoast. 

The  Excursion  Committee  proposed  a  trip 
to  Taughannock  Palls,  N.  Y.,  as  offering 
great  attractions.  It  met  with  general  favor, 
and  a  number  of  gentlemen  signified  their 
intention  of  participating. 

A  communication  from  the  Exhibition 
Committee  was  read,  calling  attention  to  the 
circular  issued  in  regard  to  the  proposed 
Photographic  Exhibition,  and  urging  the 
members  to  give  it  their  hearty  support  to 
make  it  interesting  and  profitable. 

The  Committee  on  Incorporation  reported 
that  the  charter  applied  for  had  come  up  for 
action  before  the  Court  of  Common  Pleas, 
on  April  18th,  and  had  been  approved  It 
was  recorded  by  the  Kecorder  of  Deeds, 
April  24th,  from  and  after  which  date  it 
took  effect 

In  order  to  reorganize  as  a  new  body 
under  the  provisions  of  the  Charter,  the 
meeting  was  then  adjourned  sine  die. 

A  meeting  of  those  present  was  then 
organized  with  Mr.  Galloway  C.  Morris,  in 


the  Chair,  to  form  "The  Photographic  So- 
ciety of  Philadelphia,"  under  the  provisions 
of  the  Charter  granted  and  recorded  as 
above. 

The  officers  of  the  old  organization  were 
reelected  to  their  several  positions. 

"With  Mr.  Bates  in  the  Chair,  on  motion 
of  Mr.  Fox,  the  by-laws  of  the  old  Society 
were  adopted  as  a  whole. 

The  Standing  Committees  of  the  old  So- 
ciety, as  provided  for  by  the  by-laws  were 
reelected  to  serve  until  the  annual  meet- 
ing, also  provided  for  thereby. 

On  motion  of  Mr.  Coates,  it  was  agreed 
that  all  obligations  and  liabilities  of  the  old 
Association  be  assumed  by  the  new  Society, 
and  also  that  all  rules,  regulations,  standing 
resolutions,  etc.,  governing  the  old  Society 
be  adopted  for  the  government  of  the  new 
one. 

Mr.  Burroughs  moved  that  a  seal  be 
adopted  of  the  same  design  as  the  cut  in  use 
by  the  old  Society  for  that  purpose,  adding 
inside  of  the  circle  containing  the  name, 
the  words  "  Incorporated  April  24th,  1885." 
Carried. 

A  question  in  the  box  asked,  "  How  do 
you  keep  up  the  strength  of  the  silvering 
bath  ?  Is  it  done  by  the  addition  of  nitrate 
of  silver  alone,  or  by  adding  also  the  other 
chemicals  composing  the  bath  ?  " 

Mr.  Bell  stated  that  his  method  was  to 
add  one  ounce  of  nitrate  of  silver  dissolved 
in  ten  ounces  of  water,  for  every  twelve 
sheets  of  paper  sensitized. 

Another  question  asked,  "  Should  gela- 
tine negatives  that  have  been  treated  with 
alum  after  fixing,  be  washed  longer  in  order 
to  eradicate  the  hypo?  " 

One  of  the  effects  of  alum  being  to  harden 
the  film,  and  make  it  more  impervious  in 
consequence  of  an  astringent  action,  it 
would  probably  increase  the  time  necessary 
for  washing  It  was  generalby  recommended 
to  use  alum  before,  instead  of  after,  fixing, 
though  as  much  time  would  be  necessary  for 
washing  in  one  case  as  the  other. 

The  use  of  alum  was  sometimes  claimed 
to  interfere  with  processes  of  intensification 
in  which  bichloride  of  mercury  was  used. 
This  difficulty  was  caused  not  by  the  alum 
itself,  but  from  imperfect  elimination  of  the 
hypo,  any  of  which  being  left  in  the  film, 


174 


THE    PHILADELPHIA    PHOTOGEAPHBK 


would  decompose  the  bichloride  of  mercury. 
The  astringent  action  of  the  alum  necessi- 
tated thorough  washing  in  all  cases  to  re- 
move the  hypo  entirely. 

Mr.  Coates  asked  if  there  was  any  varia- 
tion in  the  actinic  power  of  the  light  notice- 
able in  the  Western  States,  or  on  the  sea- 
shore, as  compared  with  the  region  around 
Philadelphia.  Negatives  he  had  taken  on 
the  New  England  Coast  were  considerably 
overexposed,  and  he  called  attention  to  a 
letter  from  Mr.  York,  of  England,  recently 
published  in  the  Photographic  Times,  stating 
that  he  had  found  on  his  trip  among  the 
"Western  States  that,  to  expose  properly,  it 
was  necessary  to  change  an  / 11  stop  for/  16, 
though  the  former  had  been  right  in  the 
Middle  and  Eastern  States. 

Mr.  Browne  thought  that  travellers  pho- 
tographing in  the  West  were  apt  to  take 
subjects  which  from  their  size  and  other 
peculiarities,  and  the  general  absence  of 
foliage,  reflected  large  quantities  of  very 
actinic  light  resulting  in  overexposure. 

Mr.  Vaux  had  found  Colorado  views 
taken  by  him  underexposed,  indicating  the 
reverse  of  the  experience  above  quoted. 

Mr.  Eau,  who  had  done  a  great  deal  of 
work  in  the  West,  had  noticed  the  same 
effect,  which,  though  the  light  had  great 
actinic  power  owing  to  the  rarity  of  the 
atmosphere,  he  laid  to  the  extremely  heavy 
shadows  cast  by  the  powerful  sunshine. 

To  bring  out  these  shadows  it  was  neces- 
sary to  give  exposures  sufficiently  long,  to 
overexpose  somewhat  and  soften  down  the 
more  brilliantly  lighted  parts  of  the  picture. 

Mr.  Barrington  showed  a  concave  reflector 
made  of  silvered  mica,  which  used  at  night 
with  a  common  bat- wing  gas  burner,  he 
had  found  to  give  sufficient  light  to  copy 
engravings,  and  also  to  make  lantern  slides 
by  reduction.  The  reflector  was  about  12// 
in  diameter,  and  the  burner  was  carefully 
placed  in  the  exact  focus  of  the  converging 
rays  from  the  reflector. 

For  copying  an  engraving,  the  light  was 
placed  about  two  feet  from  the  picture,  the 
exposure  being  from  forty  to  seventy-five 
seconds  with  a  Carbutt  special  plate.  A 
lantern  slide  made  in  the  camera  from  a 
6Y/  x  8J//  negative,  required  three  minutes 
on  a  Carbutt  B  plate.     In  this  case,  a  shield 


of  tissue  paper  was  placed  between  the  neg- 
ative and  the  light,  close  to  the  former,  in 
order  to  diffuse  the  light  thoroughly. 

Mr.  Walmsley  showed  a  large  portrait 
negative  18//  x  20",  and  prints  from  the 
same,  taken  with  an  8  x  10  Beck  rectilinear 
lens  of  137/  equivalent  focus.  The  picture 
was  taken  on  a  dark  day  with/  16  stop,  and 
one  minute  exposure.  The  back  focus  when 
making  the  picture  was  about  26/x.  In  the 
gallery  where  it  was  taken,  this  lens  had 
taken  the  place  of  a  very  expensive  and 
bulky  portrait  lens,  and  with  rapid  dry 
plates  was  amply  quick  in  its  action. 

Messrs.  Wilson,  Hood  &  Co.  showed  a 
number  of  new  cameras  by  the  American 
Optical  Co.,  among  which  was  the  "  Mani- 
fold," which  from  its  novel  construction 
and  adaptability  to  various  requirements 
attracted  much  attention. 

Other  interesting  exhibits  were  :  a  Scovill 
detective  camera,  a  small  portable  incan- 
descent electric  light  for  use  in  the  dark- 
room, etc.,  and  a  tin  developing  tray  of 
Belgian  manufacture  covered  with  a  white 
composition  said  to  be  impervious  to  photo- 
graphic chemicals. 

Mr.  Wood  showed  a  number  of  platinum 
prints  of  flower  and  figure  subjects.  Among 
the  latter  was  one  taken  under  a  skylight  at 
7  a.m.  with  a  drop  shutter. 

Messrs.  Corlies,  Barrington,  Benient,  and 
others  showed  a  number  of  excellent  marine 
pictures  taken  in  New  York  Harbor. 

Forty-seven  members  and  three  visitors 
present. 

Adjourned. 

BOBERT  S.  BeDPIELD, 

Secretary. 

The  Photographic  Society  of  Phila- 
delphia.— This  Society  proposes  to  hold, 
during  the  fall  or  winter  of  1885-6,  an  ex- 
hibition of  photographs. 

Amateur  and  professional  photographers 
are  invited  to  send  specimens  of  their  best 
work  for  competition  in  accordance  with 
the  rules  and  classification  appended. 

The  recent  rapid  progress  in  artistic  pho- 
tography and  the  growing  interest  in  the 
subject,  lead  us  to  hope  that  a  collection  of 
photographic  pictures  may  be  brought  to- 
gether, which  will  be  worthy  the  critical 
attention  of  our  friends  and  the  public. 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


175 


A  diploma  will  be  awarded,  by  a  Board 
of  Judges,  for  tbe  best  picture  in  each  class. 
Every  precaution  will  be  taken  that  the 
conditions  of  classification  are  complied 
with. 

The  place  of  holding  the  Exhibition,  and 
the  date,  will  be  announced  in  a  future  cir- 
cular. It  is  proposed  that  it  shall  remain 
open  to  the  public  about  one  week. 

The  attention  of  contributors  is  particu- 
larly called  to  rules  Nos.  4,  5,  6,  and  7. 

To  facilitate  the  hanging  of  pictures  by 
classes,  it  is  requested  that,  as  far  as  possible, 
pictures  of  different  classes  be  not  included 
in  one  frame. 

Intending  exhibitors  are  requested  to  ad- 
vise the  Secretary  as  early  as  possible,  so 
that  entry  blanks,  labels,  etc.,  may  be  sent 
them  in  good  time.  Early  notice  in  regard 
to  transparencies  and  lantern  slides  is  par- 
ticularly desired,  in  order  that  proper  ar- 
rangements for  showing  them  may  be  made. 

For  all  further  information,  entry  blanks, 
labels,  etc.,  please  address  the  Secretary, 
Mr.  Kobert  S.  Eedfield,  1601  Callowhill 
Street,  Philadelphia,  Penn. 

John  G-.  Bullock, 
Frederic  G-raep, 
S.  Fisher  Corlies, 
Charles  B.  Pancoast, 

EOBERT  S.   EeDEIELD, 

Exhibition  Committee. 

Pictures  will  be  received  for  competition 
only,  and  in  accordance  with  the  following 
rules  and  classification : 

Etjles. 

1.  Both  amateur  and  professional  photog- 
raphers may  compete  in  all  classes,  unless 
otherwise  specified. 

2.  No  photographs  will  be  received  on 
single  mounts  less  than  5x8  inches  (except 
stereoscopic).  All  smaller  than  this  size 
must  be  grouped  on  a  larger  mount  for  con- 
venience in  hanging.  No  unmounted  prints 
will  be  received  except  from  foreign  ex- 
hibitors. 

3.  The  same  picture  may  be  entered  in 
more  than  one  class,  but  can  only  be 
awarded  one  diploma.  No  diploma  will  be 
awarded  in  any  class  in  which  the  pictures 
are  of  insufficient  merit,  as  decided  by  the 
judges. 


The  Committee  reserve  the  right  to  reject 
all  or  portions  of  any  exhibit  offered. 

4.  All  entries  must  be  made  on  blanks, 
which  will  be  furnished  on  application,  and 
which  must  be  filed  with  the  Committee  at 
least  five  days  in  advance  of  the  Exhibition, 
giving  (when  possible)  the  following  in- 
formation: Number  of  pictures,  size  of 
frame  or  mount,  classification,  subject,  lens, 
plate,  if  for  sale,  price,  exhibitor,  address, 
Society. 

Ten  per  cent,  commission  will  be  retained 
by  the  Society  for  any  pictures  sold  during 
the  Exhition. 

5.  Each  print  must  have  a  label  attached 
by  the  exhibitor,  so  as  to  read  from  the 
front,  stating  class,  subject,  lens,  plate,  ex- 
hibitor. Blank  labels  will  be  furnished  on 
application. 

6.  All  expenses  for  transportation  to  the 
Exhibition  must  be  prepaid  by  the  exhibi- 
tors. Eeturn  charges  will  be  collected  by 
carriers. 

7.  No  pictures  will  be  received  later  than 
five  days  prior  to  the  opening  of  the  Ex- 
hibition. 

8.  No  pictures  shall  be  withdrawn  before 
the  close  of  the  Exhibition. 

9.  The  Society  will  not  be  responsible  for 
any  loss  or  damage  that  may  occur  to  any 
exhibit,  but  will  use  all  reasonable  care  to 
prevent  such  occurrence. 

10.  Advertising  in  any  form,  in  connec- 
tion with  any  exhibit,  is  strictly  prohibited. 

Classification. 

1.  Landscapes — any  size — by  professionals 
only.  2.  Over  5  x  8  inches.  3.  4}  x  6J,  to 
5x8  inches  inclusive.  4.  Under  4J  x  6J 
inches.  By  amateurs 
views— surf.  6.  Sail, 
only.    7.  Surf.    8.  Sail. 

9.  Figure  composition— 

10.  4}  x  6J,  to  5  x  8  inches  inclusive.  11. 
Under  4J  x  6J  inches.  By  amateurs  only. 
"Figure  compositions"  are  to  include 
groups,  and  all  pictures  in  which  one  or 
more  figures  make  the  principal  interest  of 
the  picture,  and  which  are  not  included  in 
the  "Special  composition,"  Classes  No.  15, 
16,  17,  and  18.  12.  Landscapes.  13.  Ma- 
rine views.  14.  Figure  compositions.  By 
ladies  only.     15.  Cottage  door.      16.  Way- 


only.       5.    Marine 

By    professionals 

By  amateurs  only. 

-over  5x8  inches. 


176 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


side  fountain.  17.  Village  smithy.  18. 
Ploughing.  Special  compositions.  19.  Ani- 
mals. 20.  Still  life.  21.  Flowers,  fruit,  etc. 
22.  Trees.  23.  Snow  and  ice.  24.  Archi- 
tecture. 25.  Interiors.  26.  Sculpture.  27. 
Machinery  and  other  manufactured  objects. 
28.  Microphotographs.  29.  Enlargements. 
30.  Instantaneous  effects,  not  otherwise 
classified.  31.  Platinum  prints.  32.  Ge- 
latino-bromide  or  chloride  prints.  33.  Por- 
celain pictures.  34.  Transparencies.  35. 
Set  of  6  lantern  slides — negatives  and  slides 
to  be  made  by  exhibitor.  36.  Set  of  6  to  12 
pictures,  taken  in  a  foreign  country,  or  by 
a  foreign  exhibitor.  37.  Pictures  by  any 
new  process  not  before  publicly  exhibited. 

Association  of  Operative  Photogra- 
phers.—392  Bowery,  N.Y.,  May  7,  1885. 
President  Power  in  the  Chair. 

Mr.  Geo.  C.  Silvers  was  elected  a  mem- 
ber of  the  Association. 

Mr.  Mildenberger  reported  that  on  ac- 
count of  illness,  Mr.  Gubelman  could  not 
be  present  to  deliver  his  lecture  on  "  In- 
stantaneous Photography." 

The  various  journals  were  received,  with 
thanks  of  the  Association. 

The  business  of  the  meeting  having  been 
disposed  of,  the  question  box  was  opened, 
and  the  following  questions  read: 

Does  diaphragming  a  lens  down  increase 
the  area  of  the  circle  of  light  on  the  ground 
glass  ?  For  instance,  it  is  said  of  a  lens  that 
it  will  cover  a  11  x  14  plate,  or  by  diaphragm- 
ing, it  will  cover  a  14  x  17  plate. 

Mr.  Buhler:  It  is  a  mistake  to  say  that 
diaphragming  a  lens  increases  the  area  of 
the  circle  of  light  on  the  ground  glass  ;  dia- 
phragming only  increases  the  sharpness  of 
field  at  the  expense  of  rapidity. 

Mr.  Main  :  It  depends  upon  what  you 
are  doing  with  the  lens  ;  you  can  take  a 
lens  that  will  only  make  a  5  x  8  view,  and 
by  diaphragming,  can  make  a  14  x  17  copy 
with  it. 

Mr.  Buhler  :  If  you  use  a  5  x  8  lens  to 
make  a  14  x  17  copy  of  line  work,  the  edges 
will  not  be  sharp  or  true;  in  copying  you 
can  enlarge  to  any  extent.  Diaphragming 
does  not  increase  the  circle  of  light,  but  only 
sharpens  the  field. 


The  next  question  read  was  :  "What  is  the 
cause  of  a  metallic  lustre  on  tintypes? 

Mr.  Schaidner  :  The  color  of  a  tintype 
should  be  a  creamy  white,  but  I  have  seen 
them  with  a  silvery  metallic  lustre,  the 
cause  of  which  I  do  not  know. 

Mr.  Buhler  :  I  think  the  bath  must  have 
been  overcharged  with  organic  matter. 

Mr.  Power :  I  think  I  had  the  same  thing 
happen  to  me  one  time  ;  my  plate  was  over- 
sensitized,  overexposed,  and  the  cyanide 
solution  was  too  strong  ;  on  remedying  these 
things  the  metallic  effect  was  not  apparent. 

Mr.  Faulkner :  It  seems  to  me  there  was 
too  much  acid  somewhere,  either  in  the 
bath,  or  in  the  developer ;  and  possibly 
there  was  overdevelopment.  A  too  acid 
bath,  and  very  thin  collodion  produce  the 
same  result. 

Mr.  Buhler:  If  we  could  see  the  work, 
we  could  tell  better.  In  overdevelopment 
you  are  building  up  silver  as  on  a  negative. 

Mr.  Schaidner  :  I  stop  development  when 
detail  begins  to  show  in  shadows.  I  have 
made  tintypes  before  with  the  same  collo- 
dion and  obtained  excellent  results. 

Mr.  Faulkner :  See  that  your  bath  is  not 
too  acid,  and  use  one-half  the  usual  quan- 
tity of  acid  in  your  developer. 

Mr.  Schaidner :  I  have  always  under- 
stood that  a  tintype  bath  wanted  to  be  quite 
acid. 

Mr.  Faulkner :  That  is  an  old  theory  that 
I  contest.  I  think  a  too  acid  bath  makes 
trouble. 

Mr.  Power  :  I  would  like  to  ask  the 
printers  present  how  they  precipitate  the 
gold  in  their  waste  toning  bath. 

Ms.  Spootle  :  The  best  way  is  to  throw  it 
down  with  sulphate  of  iron. 

Mr.  Mildenberger :  You  should  first 
acidify  your  toning  solution. 

Mr.  Buhler:  Furnish  me  with  a  fifteen 
grain  bottle  of  gold,  and  I  will  put  it  in  a 
toning  bath,  precipitate  it,  and  recover 
every  grain  of  gold  without  acidifying  the 
solution. 

Mr.  Main  :  The  action  of  light  will  pre- 
cipitate the  gold  in  the  toning  bath. 

Mr.  Faulkner :  Those  who  make  a  busi- 
ness of  refining  wastes,  recommend  acidify- 
ing the  toning  solution  before  precipitating. 
I  asked  one  of  them  the  object  of  doing  so, 


THE   PHILADELPHIA    PHOTOGEAPHEE. 


177 


and  was  told  it  was  to  get  rid  of  the  excess 
of  iron  in  the  precipitate.  Sometimes  they 
wash  the  precipitate,  and  then  draw  a  mag- 
net through  it  to  extract  the  iron. 

Mr.  Power  :  I  think  I  have  saved  more 
gold  since  acidifying  my  toning  solution 
before  precipitating,  than  I  did  before. 

Mr.  Biihler  :  You  can't  get  pure  gold  by 
precipitating  once,  but  by  cutting  up  again 
with  nitric  and  muriatic  acids,  and  then 
adding  one  hundred  grains  of  iron  for  every 
twenty  grains  of  precipitate,  you  will  get 
the  pure  gold. 

Yours  respectfully, 

W.  Eddowes, 

Secretary. 

Society  op  Amateur  Photographers 
of  New  York. — A  special  meeting  of  the 
above  Society  was  held  on  Tuesday  evening, 
April  28,  to  view  the  work  of  Mr.  George 
B.  Wood,  of  Philadelphia. 

No  higher  praise  can  be  awarded  Mr. 
"Wood  than  to  say  that  everything  he 
showed,  without  exception,  was  a  picture. 

The  slides  first  shown  were  views  in  the 
environs  of  Geimantown  and  Philadelphia, 
and  at  Bedford  Springs.  Then  followed 
several  views  of  New  York  buildings,  both 
interior  and  exterior,  among  them  the 
Tiffany  House,  on  Madison  Avenue,  and  a 
number  of  interiors  in  the  Villard  mansion, 
also  of  studios,  those  of  Mr  William  M. 
Chase's  studio  being  particularly  noticeable. 
Then  followed  some  shutter  views  of 
steamers,  one  of  the  United  States  man-of- 
war  "  Kearsage  "  attracting  especial  atten- 
tion. 

Several  views  of  rural  scenery  in  Eng- 
land were  next  shown — a  village  scene  in 
Cornwall  was  a  charming  study. 

Passing  to  France,  a  series  of  views  of  the 
picturesque  architecture  of  the  old  French 
towns  followed.  These  were  felicitously 
chosen  and  arranged,  and  of  great  beauty, 
apart  from  their  historical  value. 

Succeeding  these  came  views  in  Florida, 
on  the  St.  John's  and  Indian  rivers,  and  in 
the  Adirondacks.  Some  flower  studies  of 
apple  blossoms  and  altheas  were  then  thrown 
on  the  screen  ;  one  of  them  showing  rain- 
drops on  the  petals,  was  by  many  considered 
the  gem  of  the  evening. 

A  series  of  figure  studies  then  followed, 


mostly  from  child  models,  in  all  sorts  of 
artistic  poses.  These  included  the  pictures 
that  won  prizes  at  the  last  Boston  Exhibi- 
tion— "Indecision,"  "Happiness,"  "Hay- 
making." 

Mr.  Wood's  slides  were  all  reductions 
from  4x4  and  5x8  plates,  and  made  by 
the  wet  process. 

At  the  close  a  vote  of  thanks  was  ex- 
tended to  Mr.  Wood  for  his  kindness  in 
favoring  the  Society. 

Rochester  Photographic  Association". 
— Regular  meeting  held  April  6,  1885. 
President  Wardlaw  in  the  Chair. 

Minutes  read  and  approved. 

Under  the  head  of  discussion  of  photo- 
graphic subjects,  Mr.  Williams  reported  in 
regard  to  his  test  of  bromide  of  ammonium 
and  bromide  of  potassium  as  restraining 
agents,  showing  samples  of  negatives  with 
each  restrainer,  and  reported  in  favor  of 
bromide  of  ammonium  as  the  stronger 
agent. 

Mr.  Inglis  suggested  that  a  note  be  made 
in  regard  to  time  of  appearance  of  high 
lights.  He  was  strongly  in  favor  of  gradual 
and  continuous  development  either  with  the 
wet  or  dry  plate.  He  thought  the  grada- 
tions much  more  fine. 

•  Mr.    Wardlaw   agreed   with   Mr.   Inglis 
"  that  the  race  was  not  always  to  the  swift." 
Mr.  Inglis  thought  this   point  identical 
with  wet  or  dry  plates. 

Mr.  Wardlaw,  in  support  of  his  theory 
that  dry  plates  kept  better  in  a  damp  place, 
produced  a  plate  that  showed  marked  signs 
of  fog,  except  where  it  had  been  kept  moist. 

Mr.  Dumont  sugested  that  a  little  hypo 
in  the  developer  would  clear  fog,  and 
thought  that  the  water  might  have  taken 
the  hypo  from  the  paper  mat. 

Mr.  Inglis  said  that  agreeable  to  a  sug- 
gestion made  some  time  ago  by  President 
Wardlaw,  he  had  taken  an  exposed  dry 
plate  that  showed  signs  of  fog,  and  im- 
mersed it  in  a  weak  solution  of  hypo  before 
development,  and  then  found  on  develop- 
ment that  the  fog  was  entirely  destroyed. 

On  the  subject  of  the  best  reducer  for 
gelatine  negatives,  Mr.  Wardlaw  suggested 
nitric  acid  and  permanganate  of  potash. 


12 


178 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


Mr.  Inglis  offered  Newton's  formula  of 
citric  acid  and  bichloride  of  iron. 

Mr.  Wardlaw  thought  a  negative  reduced 
with  the  latter  formula  had  more  of  a  ten- 
dency to  go  back  in  strength. 

Mr.  Lee  had  seen  negatives  too  intense  to 
be  reduced  by  the  nitric  aoid  and  potash. 

Mr.  Bush  had  used  the  nitric  acid  and 
potash  quite  weak,  and  had  found  the  re- 
duction gradual  and  complete. 

In  regard  to  print  toning  on  the  surface, 
Mr.  Fox  thought  that  the  practice  of  first 
putting  them  in  warm  water  had  a  tendency 
to  coagulate  the  albumen  and  retain  a  por- 
tion of  the  free  silver. 

Mr.  Wardlaw  thought  the  warm  water 
expanded  the  paper,  and  the  cold  water  then 
contracted  it  and  held  the  silver.  He  ad- 
vised using  only  cold  water  with  the  addi- 
tion of  a  little  acid  to  the  first  washing. 

Mr.  Inglis  thought  the  only  true  test  of 
a  well-toned  print  was  to  look  through  it. 
If  it  still  retained  the  red  color,  then  tone 
further.  He  thought  prints  should  be  toned 
as  plates  are  developed,  by  looking  through 
them. 

The  Committee  on  Lantern  Exhibition 
reported  that  all  slides  for  exhibition  must 
be  handed  to  the  Committee  on  or  before 
the  date  of  the  next  meeting. 

Mr.  Lee  called  attention  to  Mr.  "Walker's 
offer  of  a  volume  of  London  Photographic 
News  for  1884,  and  suggested  that  the  Asso- 
ciation subscribe  for  the  present  year. 

Mr.  Lee  also  called  attention  to  Mr. 
Walker's  donation  of  two  photographs  of 
the  moon,  the  frames  to  be  presented  by  Mr. 
Gillis. 

Mr.  Willis  Love  moved  a  vote  of  thanks 
for  the  above  donations.     Carried. 

The  President,  Mr.  Wardlaw,  presented 
a  communication  from  J.  Harris  Stone, 
M.A.,  editor  of  the  Amateur  Photographer, 
22  Buckingham  Street,  Adelphi,  London, 
W.C.,  England,  donating  to  the  Association 
copies  of  his  magazine. 

A  vote  of  thanks  for  the  same  was  unani- 
mously carried. 

The  following  new  members  were  elected, 
Mr.  Lehnkering  active  member,  and  Prof. 
Chas.  Eorbes,  M.D.,  associate  member. 

The  President  appointed  Messrs.  George 


Eastman  and  Willis  Gove  to  read  original 
papers  at  the  next  meeting. 
Meeting  adjourned. 

Eegular  meeting  held  April  20,  1885. 
President  S.  D.  Wardlaw  in  the  Chair. 

After  the  reading  of  the  minutes,  Dr. 
Eorbes  was  called  upon  in  regard  to  the  ad- 
vantage of  using  glycerine  in  pyro  and  am- 
monia developer. 

He  could  not  say  anything  in  regard  to 
the  origin  of  this  developer.  The  glycerine 
had  been  recommended  by  many.  His  ex- 
periments showed  it  simply  acted  as  a  re- 
strainer,  and  took  the  place  of  bromides. 
Formula?  show  less  quantities  of  bromide 
where  glycerine  is  used.  He  had  often 
found  fog  where  glycerine  was  omitted.  By 
increasing  the  quantity  of  glycerine  suffi- 
ciently one  could  do  away  with  the  use  of 
bromides  altogether  in  the  developer.  He 
thought  it  simply  acted  as  a  restrainer. 

Mr.  Williams  :  In  Eastman's  normal  soda 
developer  there  is  no  bromide  or  glycerine 
used. 

Dr.  Forbes :  The  sulphite  of  soda  took 
their  place,  and  was  the  restrainer. 

Mr.  Wardlaw  :  Some  samples  of  sulphite 
of  soda  would  act  as  a  restrainer. 

Mr.  Learned:  Had  the  glycerine  a  ten- 
dency to  reduce  the  number  of  air  bells? 

Dr.  Forbes  could  not  say. 

Mr.  Lee:  How  long  will  the  pyro  remain 
active  when  dissolved  in  water  ? 

Dr.  Forbes  could  not  saj,  but  thought  it 
would  keep  indefinitely  dissolved  in  alcohol. 

Mr.  Lee :  Would  it  be  safe  to  make  up  a 
pound  in  water  ? 

Mr.  Wardlaw  thought  not,  as  business 
was  at  present.  Questionable  if  it  would 
be  judicious  to  purchase  a  pound. 

Upon  the  question  of  whether  dry  plates 
should  be  retouched  before  or  after  varnish- 
ing, Mr.  Knapp  thought  they  should  be  re- 
touched before,  and  then  one  had  a  chance 
to  retouch  again  after  varnishing.  All 
seemed  to  agree  on  this  subject. 

Mr.  Fox  said  he  considered  it  an  advan- 
tage, as  often  with  wet  plates  he  had  found 
trouble  in  retouching  sufficiently  with  one 
process. 

In  answer  to  the  question,  "What  is  the 
cause  of  black  specks  like  comets  on  gela- 


THE    PHILADELPHIA    PHOTOGRAPHER. 


179 


tine  dry  plates,  which  show  only  after  fix- 
ing? Dr.  Forbes  thought  they  were  caused 
by  particles  of  iron  combining  with  the 
pyro  developer. 

Mr.  Wardlaw :  It  often  conies  from  par- 
ticles of  iron  in  the  hypo.  He  had  never 
noticed  them  with  an  old  fixing  bath,  and 
thought  the  particles  of  iron  were  destroyed 
when  the  hypo  bath  became  old. 

Mr.  Lee  had  noticed  that  the  spots  seldom 
appeared  when  fixing  vertically  in  a  fixing 
box. 

Mr.  Wardlaw  thought  they  were  formed 
immediately  on  entering  the  fixing  bath, 
while  a  portion  of  the  pyro  developer  was 
in  the  film. 

Mr.  Bannister :  Would  dry  pyro  have  the 
same  effect  ? 

Mr.  Wardlaw  thought  not. 

Mr.  Lee  :  Is  citric  acid  a  bleacher  of  iron 
stains  ? 

Mr.  Wardlaw  :  Yes. 

Mr.  Wardlaw  produced  negatives  show- 
ing the  stains,  and  all  seemed  to  agree  that 
they  were  due  to  small  particles  of  iron 
coming  in  contact  with  the  pyro  developer. 

A  vote  of  thanks  was  tendered  the  Scovill 
Manufacturing  Co.  for  donation  of  Spauld- 
ing's  First  Lessons  in  Amateur  Photog- 
raphy. 

Mr.  Dumont  read  a  communication  from 
the  Boston  Society  requesting  an  exchange 
of  lantern  slides. 

Dr.  Forbes  kindly  offered  his  laboratory 
for  the  proposed  lantern  exhibit  of  the  As- 
sociation, which  will  probably  take  place 
early  in  May. 

After  changing  regular  meeting  night  to 
alternate  Fridays,  the  meeting  adjourned. 

Semi-annual  meeting  held  May  1,  1885. 

At  the  above  meeting  the  following 
officers  were  elected  for  the  ensuing  six 
months : 

President. — S.  D.  Wardlaw. 

Vice-President. — Charles  F.  Pomeroy. 

Secretary. — W.  H.  Learned,  16  State  St. 

Treasurer. — J.  M.  Fox. 

Financial  Committee. — Clarence  Williams, 

C.  F.  Hovey,  and  John  E.  Dumont. 
Executive  Committee. — A.  M.  Brown    H. 

D.  Marks,  President,  Secretary,  and  Treas- 
urer (ex  officio). 


The  thanks  of  the  Association  were  voted 
to  the  Scovill  Manufacturing  Co.  for  the 
offer  of  the  use  of  photographic  novelties 
whenever  desired. 

Mr.  H.  D.  Marks  exhibited  a  new  detec- 
tive camera,  also  an  electric  light  for  the 
dark  room  kindly  furnished  by  Scovill 
Manufacturing  Co. 

W.  H.  Learned, 

Secretary. 


GERMAN  CORRESPONDENCE. 

The  National  PJiotographic  Convention — 
Medals  in  Germany — Gaslight  for  Pho- 
tography— Experience  with  Azaline  Plates 
— Improvements  in  the  Steinheil  Aplanatic 
Lenses. 

I  have  just  received  an  invitation  to  the 
Buffalo  Convention,  connected  with  the  Ex- 
hibition of  the  National  Photographic  Asso- 
ciation. At  this  instance  I  cannot  fail  to 
think  of  the  beautiful  exhibition  at  Milwau- 
kee, which  I  had  the  honor  to  see  two  years 
ago.  The  exhibitions  confer  exceeding 
honor  upon  the  National  Photographic 
Association,  as  no  medals  can  repay  the 
exhibitors  for  the  trouble  taken.  Here,  in 
Germany,  it  is  quite  different.  We  have 
numerous  small  exhibitions  which  are  noth- 
ing else  than  occasions  for  distribution  of 
medals.  Mr.  Wilde,  in  Gorlitz,  mentions  a 
singular  occurrence.  An  invitation  had 
been  sent  from  Liegnitz  to  Herr  Wilde  by 
the  exposition  there,  desiring  him  to  act  as 
juryman  in  photographic  awards.  By  mis- 
take the  letter  of  invitation  was  delivered 
to  a  gentleman  of  the  same  name  who  had 
been  a  stonemason.  This  gentleman,  not 
aware  that  an  error  had  been  made,  obeyed 
the  summons.  He  set  out  for  Liegnitz,  and 
acted  in  the  function  of  juror  in  decisions  of 
photographic  objects,  pictures,  apparatus, 
utensils,  chemicals,  etc.,  and  solely  in  this 
capacity  inasmuch  as  the  other  juror,  Mr. 
Liebe,  did  not  put  in  an  appearance.  The 
committee  was  subsequently  apprised  of  the 
state  of  affairs,  but  did  not  take  it  seriously 
to  heart. 

Now  what  value  are  medals  awarded  under 
such  circumstances.  The  fact  is  that  the 
chief  aim  of  many  exhibitors  is  to  secure 
medals  for  the  sole  purpose  of  decorating 
their  mounts,  bill-heads,  etc.,  to  make  aD 


180 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


impression  upon  the  public.  One  medal  for 
the  purpose  will  do  as  well  as  another,  and 
it  is  a  matter  of  no  serious  moment  by  whom 
they  may  be  awarded.  Of  course,  it  is  under- 
stood that  only  one  class  of  photographers 
are  of  this  opinion.  Berlin,  for  instance, 
gave  in  1879  a  proof  of  this.  When  the 
photographers  there  assembled,  had  deter- 
mined to  pass  decision  on  the  exposition, 
they  disregarded  from  the  first  the  giving  of 
medals. 

Much  has  been  written  in  photographic 
journals  about  the  employment  of  electric 
light.  Now  endeavors  are  being  made  for 
the  employment  of  gaslight  in  photography. 

Mr.  has  constructed   an   apparatus 

which  with  good  dry  plates  gives  the  same 
result  in  the  same  time  of  exposure  as  wet 
plates.  He  remarked  at  the  Association  for 
the  Advance  of  Photography,  that  he  had 
achieved  very  satisfactory  results  with  the 
electric  light  apparatus,  but  unfortunately 
it  is  somewhat  complicated  and  costly.  The 
plant  demands  a  considerable  capital,  and 
even  the  daily  cost  is  considerable.  This  is 
of  moment  in  a  small  business.  In  small 
towns,  moreover,  it  is  not  always  possible  to 
secure  the  electric  light,  and,  hence,  he  has 
turned  his  attention  to  the  employment  of 
gaslight.  He  first  of  all  substituted  for  his 
electric  light,  in  the  illuminating  apparatus, 
a  pair  of  powerful  Siemen's  regenerative 
burners,  but  found  that  the  light  was  too 
weak.  The  light  of  these  burners,  applied 
directly,  gave  strong  disturbing  shadows 
upon  the  background,  laying  aside  the  fact 
that  it  was  too  weak.  An  increase  in  the 
number  of  these  burners  was  not  practicable, 
because  they  gave  such  an  intense  heat. 
Kecourse  was  had  to  Argand  burners.  Four 
of  the  same  of  sixteen  candle  power  were 
made  use  of,  placing  them  over  the  head  of 
the  sitter;  fourteen  more  were  placed  in  two 
rows  upon  a  revolving  crane,  used  for  the 
speaker's  electric  light  apparatus,  whose 
axis  was  over  the  head  of  the  sitter.  The 
burners  were  provided  with  the  so-called 
Schumann  silver  reflectors,  consisting  of 
silvered  glass,  and  acting  without  doubt  as 
the  most  powerful  reflector  as  yet  invented. 
Upon  the  revolving  crane,  inside  a  white 
lacquered  diffusor,  was  hung  a  Siemen's 
burner  of  two  hundred  candle  power.    With 


this  contrivance  portraits  were  taken  in 
twenty  seconds ;  the  crane,  of  course,  re- 
volving slowly  during  the  time  of  exposure. 
This  apparatus  in  its  workings  is  analogous 
to  that  used  by  Mr.  Kurtz,  of  New  York, 
who  in  his  electric  light  operations  places 
the  sitter  upon  a  turn-table.  Several  exam- 
ples of  photographs  taken  by  the  above 
method  were  exhibited.  They  were  freely 
exposed  and  not  inferior  to  those  taken  by 
daylight.  The  products  of  combustion  of 
the  gas  flames  were  conveyed  by  pipes  to 
the  outer  air.  The  increase  of  the  tempera- 
ture is  not  considerable  ;  with  several  hours 
burning  it  increased  from  66°  F.  to  73°  F. 
The  speaker  remarked  that  he  had  used  at 
least  twenty  different  developers,  but  pre- 
ferred the  usual  oxalate  of  iron  developer. 
Before  developing,  he  laid  the  plate  in  a 
bath  of  hypo,  1-1000.  The  latter  has  been 
repeatedly  tried  by  the  process-monger ;  I 
mention,  therefore,  that  bathing  in  hypo 
is  only  of  value  in  connection  with  the 
oxalate  developer. 

Azaline  plates  are  being  used  more  and 
more  fortaking  photographs  of  oil  paintings, 
carpets,  bronzes,  colored  architecture,  land- 
scapes, etc.  You  know  that  these  plates 
exhibit  their  value  for  colored  originals  only 
when  a  yellow  glass  is  put  in  front  or  behind 
the^  objective.  So  far,  1  have  used  yellow 
mirror  glass  ;  these  glasses  vary,  however, 
very  much  in  their  color,  and  absorb  often 
very  much  light.  The  best  is  white  mirror 
glass  covered  with  yellow  collodion.  I 
make  such  collodion  with  help  of  aurantine, 
an  aniline  dyestuff  manufactured  here. 
The  ordinary  aurantine  of  commerce  is  not 
always  reliable.  Lately  a  sample  of  auran- 
tine turned  up,  which  is  very  difficult  of 
solution,  one  part  requiring  fifty  cubic  cen- 
timetres of  alcohol.  Dissolved  in  collodion 
it  gives  too  thin  a  film.  It  is,  therefore,  well 
to  coat  the  two  sides  of  the  plate,  the  second 
coating  is  applied  from  the  corner  where 
the  first  was  poured  off,  diagonally.  The 
company  for  the  manufacture  of  aniline 
colors  at  this  place  has  a  new  variety 
of  aurantine,  easily  soluble  in  alcohol, 
which  satisfied  all  demands,  but  is  higher 
priced.  This  sample  dissolves  in  one  hun- 
dred parts  of  alcohol  without  a  residue, 
likewise  in  collodion.     The  latter  appeared 


THE   PHILADELPHIA    PHOTOGRAPHER. 


181 


deeply  colored.  Four  grains  of  the  new 
color  were  sufficient  for  one  hundred  cubic 
centimetres  of  collodion.  How  very  differ- 
ent are  the  times  of  exposure  with  azaline 
plates  in  taking  different  objects,  according 
to  their  nature,  will  be  seen  by  the  following 
table  of  practical  results  in  the  taking  of  oil 
paintings  with  diffuse  light  with  azaline 
plates  with  use  of  aurantine  disk  : 


OUR  PICTURE. 

Perhaps  there  is  nothing  in  the  whole 
range  of  art  more  difficult  to  depict  in  their 
true  relations  than  the  sea  and  the  sky. 
There  is  a  harmony  existing  between  the 
two  so  exquisite  in  its  whole  scale,  from  high 
to  low,  that  the  slightest  discordant  element, 
which  the  painter  may  introduce,  jars  upon 


Subject. 


New  oil   painting  of 

Gude  ;    sea-view, 

light  painted. 

New  oil  painting,  by 

Breitbach  Smith  ; 

dark  painted. 

Colored  print,  by 
Hagelburg. 

Old  oil  painting,  by 
Menzel ;    very  dark- 
brown  tone. 


Voigtlander  euryscope, 
4'  stop,  v.  o. 


Voigtlander  euryscope, 
4'  stop,  v.  o. 


Steinheil  ordinary  apla- 
natic,  W  stop. 

Steinheil  aplanatic  land- 
scape with  reversed 
prism    2/  stop. 


April  13, 
3.30  p.m. 


April  20, 
3  P.M. 


April  24, 
2  P.M. 

% 

April  18, 
2.4  p.m. 


Illumination. 


Bright  sky  with 
diffused  light. 


Bright  sky  with 
diffused  light. 


Bright  sky  with 
diffused  light. 

Bright  sky  with 
diffused  light. 


Duration 

of 
exposure. 


8  minutes. 


19  minutes. 


2  minutes. 


75  minutes. 


I  have  mentioned  the  fact  that  in  sunlight 
the  exposure  may  be  effected  in  fourteen 
times  less  time. 

Recently  I  had  an  opportunity  to  com- 
pare a  Steinheil  aplanatic  lens  of  fifty-four 
centimetres  focus,  older  construction  (No.  8 
of  price  list),  with  a  new  one  of  the  same 
size.  The  latter  can  be  drawn  out — that  is, 
the  distance  between  the  two  lenses  can  be 
changed.  If  the  instrument  is  drawn  to- 
gether so  that  the  lenses  are  closer  together, 
we  have  a  somewhat  contracted  field,  a  cer- 
tain focal  diffusion,  so  that  the  image  ap- 
pears deeper.  In  this  capacity  the  instru- 
ment is  well  adapted  for  groups.  When 
the  instrument  is  drawn  out — that  is,  on 
further  separating  the  lenses — the  image  was 
flatter  and  sharper  at  the  edge,  in  which 
capacity  it  is  suitable  for  reproductions.  A 
more  careful  comparison  with  an  old  instru- 
ment, gave  in  fact  the  superiority  to  the 
new  arrangement.  The  edges  upon  the 
ground-glass,  it  is  true,  did  not  appear  to 
the  eye  to  be  any  sharper,  but  the  copy 
showed  it  plainly. 

Yours  truly, 

Dr.  H.  W.  Vogel. 


the  feelings  of  those  whose  souls  are  tuned 
to  its  concord. 

There  is  not  a  moment  in  which  the  sea 
and  the  sky  are  not  creating  new  and  beau- 
tiful combinations — whose  glory  they  can 
see 

"Who  meddle  not  with  crime, 
"Nor  avarice,  nor  over-anxious  care." 

The  sea  infinite  in  variety  of  changing 
forms  and  hues,  unwearied  in  manifestations 
of  graceful  motions,  unconquerable  in  power 
and  majesty,  eludes  the  subtle  touch  of  the 
most  skilful  painter  to  render  its  truth  upon 
the*canvas. 

Who  can  paint 

"the  rude  imperious  surge," 
or  the 

"visitation  of  the  winds,  which  take  the  ruffian 

billows  by  the  top." 
"  Curling  their  monstrous  heads    and  hanging 

them 
With  deaf'ning  clamors  in  the  slip'ery  clouds." 

The  eye  is  not  quick  enough  to  catch  any 
one  phase  of  the  sea's  lovely  inconstancy, 
or  any  one  form  of  her  fury.    Even  in  her 


182 


THE    PHILADELPHIA    PHOTOGRAPHER. 


gentler  moods,  when  with  soft  murmurs  she 
breaks  upon  the  beached  margin  of  the 
shore,  the  exquisite  modelling  of  her  waves 
is  so  mockingly  transient  that  we  perceive 
only  a  portion  of  their  form  and  beauty. 

And  so  of  the  sky,  there  is  an  exhaust- 
less  energy  in  constant  play  evolving  from 
its  bosom  form  after  form  of  loveliness ; 
fleecy  masses  of  wind-fretted  clouds,  soft 
filaments  of  fine-spun  vapor,  interpenetrated 
with  light,  or  multitudes  of  dense  white 
clouds  wandering  in  thick  flocks. 

"Shepherded  by  the  slow  unwilling  wind." 

Is  it  any  wonder  that  painters  fail  in  rep- 
resenting such  loveliness  as  is  the  hourly, 
momentary  work  of 

"Heaven's  profoundest  azure." 

As  Wordsworth  has  expressed  it : 

"Clouds  separately  poised, 
Innumerable  multitude  of  forms 
Scattered  through  half  the  circle  of  the  sky  ! 
And  giving  back,  and  shedding  each  on  each 
With  prodigal  communion  the  bright  hues — 
Which  form  the  unapparent  fount  of  glory. 
They  had  imbibed  and  ceased  not  to  receive. 
That  which  the  heaven's  displayed,  the  liquid 

deep 
Repeated,  but  with  unity  sublime." 

The  older  painters  seldom  attempted  the 
representation  of  the  sea  as  a  separate  study. 
Even  the  Venetians,  who  lived  upon  her 
very  bosom,  have  left  us  no  instance  of 
marine  studies ;  sometimes  we  catch  little 
glimpses  in  the  backgrounds,  which  show 
that  certain  patches  of  green  or  blue  are  in- 
tended for  sea,  because  they  have  ships  rep- 
resented as  floating  upon  the  surface.  What 
the  old  masters  painted  of  the  sea  is  purely 
conventional,  and  considered  only  in  its  re- 
lations to  human  interests.  They  never 
studied  the  volume  of  the  moving  waters 
for  its  own  beauty. 

Modern  painters  have  produced  some 
faithful  renderings  of  particular  phases  of 
marine  phenomena,  Turner  standing  pre- 
eminently. He  comes  very  near  nature  in 
her  actual  forms.  He  gives  the  impression 
of  mass  and  volubility,  of  transparency  and 
mobility,  the  lapping  and  curling  form  of 
the  waves  whose  crests  are  marked  with 
tracery  of  intermingling  lights  and  shades, 


and  the  sea  between,  broken  up  into  little 
surges  and  ripples  from  the  falling  spray. 
Yet  even  Turner  fails  to  catch  that  perfect 
freedom  in  the  flow,  the  laxity  at  the  top  of 
the  wave  when  the  spray  seems  in  its  incon- 
stancy to  waver  between  the  bidding  of  the 
winds  and  the  restless  onward  urging  of  the 
volume  of  water  eager  to  gain  the  shore. 

We  have  no  notion  of  exalting  photog- 
raphy above  art.  We  know  her  limitations, 
we  know  that  she  will  not  usurp  the  domain 
of  the  painter,  but  as  an  aid  to  the  study  of 
form  she  has  no  equal.  She  can  gather  up 
and  treasure  those  transient  shapes  of  beauty 
which  the  eye  despairs  of  following,  which 
the  pencil  fails  to  record. 

Therefore,  as  far  as  outward  form  is  con- 
cerned, leaving  out  of  consideration  the 
glorious  modulations  of  hues,  we  must  con- 
fess that  we  have  seen  more  faithful  render- 
ing of  clouds  and  waves  in  photographs 
than  painters  even  of  high  rate  have  been 
able  to  give  us  upon  their  canvas.  Di- 
vorced from  the  beauty  of  coloring,  and 
the  soft  gradations  of  light  and  shade,  with 
which  skill  has  arrayed  them,  the  forms  are 
often  very  crude  and  far  removed  from  the 
graceful  sinuous  windings  and  turns  of 
nature.  Men  in  general  have  not  a  very 
definite  idea  what  a  cloud  or  a  wave  is,  or 
rather  their  idea  is  too  definite.  It  is  too 
often  a  conventional  conception,  a  sort  of 
hieroglyphic,  which  passes  current  for  the 
representation  of  these  phenomena.  A  mass 
of  shapeless  white  upon  an  opaque  field  of 
blue  is  praised  as  nature's  own  handiwork. 
A  rolling,  twisting  contortion  of  green 
capped  with  dashes  of  while,  passes  current 
for  the  flow  of  old  ocean's  tide.  Indeed, 
these  ideas  for  which  painters  themselves 
are  too  often  responsible,  are  so  fixed  in 
men's  minds  that  when  an  artist  of  keener 
perceptions  comes  nearer  nature's  heart,  the 
critics  will  denounce  his  productions  as  pre- 
sumptuous ;  and  so  when  the  quick  pencil  of 
light  registers  the  beautiful  pose  of  the  waves 
or  mirrors  the  clouds,  men  look  at  them 
askance  and  strangely,  yet  there  they  are 
with  nature's  image  and  superscription. 

It  is,  therefore,  with  pleasure  that  we  give 
our  readers  the  series  of  beautiful  sea  views, 
the  production  of  Mr.  I.  W.  Taber,  of  San 
Francisco,  Cal.     With  true  artistic  feeling 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


183 


he  has  watched  the  sea  in  her  protean  forms 
until  the  favorable  moment,  and  then  with 
the  most  sensitive  plate  caught  for  our  de- 
light the  lovely  sea  changes  which  we  have 
before  us.  The  originals  from  which  these 
reproductions  were  made,  are  8  x  10  in  size. 
The  negatives  are  upon  plates  of  Mr.  Taber's 
own  make.  They  need  no  praise.  In  rich- 
ness of  quality  and  softness  in  the  gradations 
of  light  and  shade  combined  with  delicacy 
of  detail  it  seems  impossible  to  go  beyond. 

"  The  sun  is  couched,  the  sea  fowl  gone  to  rest, 
And  the  wild  storm  has  somewhere  found  a  nest. 
Air  slumbers,  wave  with  wave  no  longer  strives, 
Only  a  heaving  of  the  deep  survives — 
A  tell-tale  motion  !  soon  will  it  be  laid, 
And  by  the  tide  the  water  swayed ; 
Stealthy  withdrawings,  interminglings  mild, 
Of  light  and  shade,  in  beauty  reconciled, 
Such  is  the  prospect  far  as  sight  can  range." 

"  With  ships  the  sea  is  sprinkled  far  and  nigh, 
Like  stars  in  heaven,  and  joyously  they  showed, 
Some  lying  fast  at  anchor  in  the  road, 
Some  veering  up  and  down,  one  knew  not  why." 

The  prints  are  made  upon  the  extra  bril- 
liant N.  P.  A.  albumen  paper  furnished  by 
E.  &  H.  T.  Anthony  &  Co.,  of  New  York.] 


PHOTOGRAPHIC  EXPERIENCES  1 

AT  THE  NEW  ORLEANS 

EXPOSITION. 

BY    G.    HANMER    CROUGHTON. 

By  the  time  this  is  seen  by  the  readers  of 
the  Philadelphia  Photographer,  the 
New  Orleans  Exposition  will  be  closed  and 
our  work  here  finished.  It  has  not  been  all 
pleasant  work,  nor  has  it  been  easy  work, 
but  the  experience  gained  has  been  varied 
and  profitable,  and,  take  it  all  together,  I 
can  say  it  has  been  good  for  me  to  have 
been  here.  I  have  made  the  acquaintance 
of  many  good  fellow-operators,  printers, 
etc. — I  hope  to  our  mutual  benefit,  and 
when  we  leave  here  to  be  scattered  all  over 
the  States,  east,  west,  north,  and  south,  I 
believe  we  shall  all  carry  away  a  pleasant 
remembrance  of  the  time  spent  together 
here,  and  shall  part  with  feelings  of  mutual 
regret. 

My  seven  months  experience  of  exposi- 
tion work  has  given  me  a  very  thorough 


acquaintance  with  American  apparatus, 
lenses,  and  dry  plates,  and  has  thoroughly 
converted  me  to  the  use  of  carbonate  of 
potash  as  a  developer,  for  although  I  still 
adhere  to  my  first  statement  that  the 
ammonia  pyro,  as  published  in  m}'  first 
article,  is  the  best  developer  for  all  dry 
plates,  I  have  come  to  the  conclusion, 
from  an  extended  use  of  the  potash  devel- 
oper (Hoover's  formula),  that  you  can  do 
with  it  all  that  you  can  do  with  the  ammo- 
nia with  this  advantage,  that  you  can  use 
the  potash  developer  over  and  over,  while 
the  ammonia  developer  will  only  serve  for 
one  plate. 

I  have  tried  many  modifications  of  the 
formula  as  suggested  by  different  makers; 
sometimes  reducing  the  quantity  of  bromide, 
sometimes  reducing  the  sulphite  of  soda, 
but  always  with  the  same  result,  viz.,  to 
return  to  the  original  formula. 

My  experience  here  has  also  confirmed 
me  in  the  opinion  formed  in  England,  that 
it  is  a  mistake  to  judge  of  a  dry-plate  nega- 
tive as  you  would  of  a  wet  plate  ;  they  are 
totally  different,  and  it  is  those  negatives 
which  are  most  like  a  wet  plate  in  appear- 
ance which  disappoint  you  in  the  printing. 
This  it  is  which  makes  it  so  difficult  for  a 
photographer,  using  both  processes,  to  make 
even  work,  and  it  also  tends  to  confirm  him 
in  the  opinion  that  he  cannot  produce  such 
good  work  with  the  dry  process  as  he  can 
by  the  wet,  because  he  judges  his  dry  nega- 
tives by  a  wet  standard  and  tries  to  get  them 
as  near  a  wet  plate  in  appearance  as  pos- 
sible, and  the  nearer  he  succeeds  in  this  the 
more  disappointed  he  will  be  with  the  re- 
sulting prints. 

All  the  negatives  which  produce  the  best 
prints  here  are  quite  unlike  a  wet  plate — in 
fact,  judging  from  the  standard  of  a  wet 
plate  operator,  he  would  doubtless  pronounce 
them  overexposed  and  flat,  the  shadows  are 
not  so  clear  as  they  must  be  in  a  wet  plate 
to  produce  a  brilliant  print,  and  the  highest 
lights  are  anything  but  opaque,  but  they 
produce  a  print  which  is  at  the  same  time 
soft  and  brilliant,  full  of  gradation,  and 
yet  with  a  snap  that  is  seldom  seen  in  a  wet 
plate  which  has  such  soft  delicate  demitints. 

I  think  that  every  dry-plate  maker  gives 
in  his  formula  for  development  the  fullest 


184 


THE    PHILADELPHIA    PHOTOGRAPHER. 


amount  his  plate  will  stand  of  the  accel- 
erator, and  I  find  it  best  to  give  exposure 
enough  to  enable  me  to  use  less  of  the  accel- 
erator than  the  formula  given  with  the 
plates.  I  am  quite  sure  that  I  get  better 
results  than  by  a  shorter  exposure  and  full 
strength  of  normal  developer  given  by  the 
platemaker ;  of  course,  there  are  subjects 
which  must  be  made  as  rapidly  as  possible, 
such  as  street  views  and  drop-shutter  ex- 
posures, and  there  is  one  advantage  the 
Inglis  plate  has  over  all  others  we  have 
used  here;  for  such  work  they  are,  as  he 
says,  absolutely  insoluble,  and  a  long  de- 
velopment will  not  cause  them  to  frill  during 
the  warm  weather  we  have  had  the  last  two 
months.  I  have  had  to  take  extra  precau- 
tions ;  the  developer  is  mixed  with  ice  water, 
the  plates  are  only  just  rinsed  and  then  put 
into  a  standard  solution  of  alum  which  is 
kept  cold  with  ice.  Ice  is  kept  in  the  fixing 
bath,  and  a  solution  of  chrome  alum  mixed 
with  the  hypo;  yet  in  the  washing  the  gela- 
tine will  swell  and  become  so  tender  that 
they  will  mark  at  the  slightest  touch.  Now 
the  way  I  treat  an  Inglis  plate  which  has 
had  an  exposure  of  a  fraction  of  a  second, 
or  any  underexposed  Inglis  plate,  is  this: 
when  I  find  that  under  the  normal  devel- 
oper it  is  coming  up  slowly  and  the  highest 
lights  are  gaining  too  much  intensity  while 
the  shadows  remain  unseen,  I  put  in  a  large 
amount  of  water,  sometimes  as  much  as  four 
times  the  amount  the  development  was  com- 
menced with;  for  instance,  I  develop  a 
10  x  12  plate  with  four  ounces  of  water, 
to  which  have  been  added  two  drachms  each 
of  pyro  and  potash  solutions  (normal  devel- 
oper). On  finding  that  the  plate  has  not 
received  enough  exposure,  I  put  in  four, 
eight,  or  twelve  ounces  of  water,  and 
increase  the  accelerator  till  I  have  had  as 
much  as  twelve  drachms  of  accelerator  to 
two  drachms  of  pyro  in  sixteen  ounces  of 
water.  The  progress  of  development  is 
slow,  sure ;  in  one  instance,  it  took  three- 
quarters  of  an  hour  to  develop  one  14x17 
plate,  it  was  an  exhibit  which  could 
only  be  taken  when  the  machinery  was 
stopped  during  the  dinner  hour,  and  the 
hour  was  insufficient  time.  We  had  been 
three  times  for  that  exhibit,  and  I  was 
bound  to  get  it  somehow,  and  I  did  get  it. 


Weakening  the  developer  with  water  kept 
down  the  intensity,  and  the  potash  had  time 
to  work,  and  the  result  was  a  success,  but 
no  other  plate  we  have  used  here  would 
have  stood  the  prolonged  soaking  without 
frilling  all  to  pieces  ;  this  freedom  from  frill 
is  doubtless  due  to  the  use  of  chrome  alum 
in  the  emulsion,  and  I  cannot  understand 
why  all  the  makers  do  not  use  it.  I  know 
that  in  England  there  was  an  idea  that 
adding  chrome  alum  to  the  emulsion  slowed 
it,  but  this  is  altogether  an  error,  the  chrome 
alum  has  not  the  slightest  effect  upon  the 
chemical,  or,  rather  I  should  say,  the  actinic 
qualities  of  a  plate,  while  its  addition  is  a 
great  boon  to  the  operator,  preventing  that 
worst  of  all  his  enemies — frill — from  making 
its  appearance. 

One  application  of  photography  was  made 
here,  which  was  both  novel  and  interesting, 
and  was  the  cause  of  settling  a  disputed  will 
case.  One  morning  early,  some  gentlemen 
brought  some  letters  up  and  wanted  copies 
made  of  them;  they  would  not  leave  them, 
and  would  only  allow  me  to  handle  them 
one  at  a  time  in  their  sight,  they  were  seven 
in  number.  I  copied  them  upon  Cramer's 
plates,  pressing  each  letter  into  contact  with 
the  glass  of  a  printing  frame  to  insure  their 
being  flat;  the  exposures  were  made  rapidty, 
one  after  the  other,  and  the  plates  were 
developed  after  all  the  exposures  were  made. 
These  letters  were  genuine  letters  of  Mrs. 
Myra  Clarke  Gains,  and  a  will  and  confi- 
dential letter  which  the  descendants  of  Mrs, 
Gains  said  were  forgeries.  From  these 
negatives  seven  lantern  slides  were  made  by 
contact  upon  the  same  maker's  plates,  devel- 
oped with  a  sal  soda  developer  very  much 
restrained.  The  lawyers  got  the  judge  to 
appoint  an  evening  setting  of  the  court,  to 
have  these  slides  thrown  upon  a  screen  very 
much  magnified,  and  I  had  to  be  present  as 
a  witness,  to  prove  the  production  of  the 
slides  from  the  original  letters. 

When  the  judge  arrived  the  court  house 
was  darkened,  and  by  using  a  pair  of  lan- 
terns, two  letters  were  placed  upon  the 
screen  side  by  side,  each  being  magnified  to 
about  eight  feet,  one  being  an  acknowledged 
genuine  letter  of  Mrs.  Gains,  and  the  other 
one  of  the  alleged  forgeries ;  the  letters  being 
so   much    magnified,  the  difference   in   the 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


185 


writing  was  very  apparent,  and  although 
the  lawyer  on  the  other  side  made  all  kinds 
of  objections,  the  result  was  that  the  judge 
gave  his  decision  that  both  the  will  and 
confidential  letters  were  forgeries.  Thus 
photography  and  the  magic  lantern  helped 
to  secure  justice  for  the  descendants  of  Mrs. 
Myra  Clarke  Gains. 

Some  dodges,  which  we  have  found  useful 
here,  and  may  be  useful  to  my  readers,  will 
close  my  experience  at  the  New  Orleans  Ex- 
position. It  has  been  found  necessary  some- 
times to  intensify  parts  of  negatives  in  those 
places  where  parts  of  the  exhihits  have  been 
under  the  gallery.  This  has  been  done  with 
an  intensifier  known  as  Edwards.  It  is 
made  by  mixing  a  saturated  solution  of  bi- 
chloride of  mercury  with  a  saturated  solu- 
tion of  iodide  of  potassium,  till  there  is  a 
slight  red  precipitate,  which  is  dissolved  by 
adding  a  small  crystal  of  hyposulphite  of 
soda.  This  can  be  applied  with  a  brush  to 
any  part  which  it  is  wanted  to  intensify. 
This  will  be  found  a  very  valuable  dodge. 

Another  dodge  is  just  reversing  the  above, 
and  is  used  for  local  reduction  or  for  reduc- 
ing the  intensity  of  the  whole  negative 
where  it  is  too  intense.  The  negative  is 
flowed  with  a  strong  solution  of  red  prussiate 
of  potash,  washed,  and  put  into  the  hj^po 
bath,  and  this  can  be  repeated  till  the  nega- 
tive is  thin  enough,  or  parts  can  be  reduced 
by  applying  the  prussiate  of  potash  solution 
with  a  brush  to  those  parts  only,  followed  by 
the  hypo. 

Dodge  third:  We  have  been  troubled 
during  the  hot  weather  with  the  rapid  dis- 
coloration of  the  developing  solutions  and 
consequent  coloring  of  the  negatives,  which 
has  not  been  taken  out  by  the  alum  bath, 
but  in  all  cases  the  most  obstinate  stain  has 
gived  way  to  an  application  of  Mr.  Carbuit's 
clearing  solution  (one  and  a  half  ounce  of 
powdered  alum,  twenty  ounces  of  water,  and 
one-half  ounce  of  sulphuric  acid).  And  now 
my  work  and  my  experience  here  being 
ended,  I  will  say  good-by  till  we  meet  at  the 
Convention. 


Don't  fail  to  read  what  is  said  about  the 
Buffalo  Convention.  It  will  be  the  great 
photographic  event  of  the  year — a  positive 
success. 


PERTAINING  TO  THE 


To  the  PhotographersAssociation  of 
America. — The  time  is  now  at  hand  for  our 
sixth  annual  convention,  and  I  hope  every 
photographer  who  has  an  interest  in  our 
beautiful  art  is  preparing  an  exhibit  for 
Buffalo. 

Our  Local  Secretary,  Mr.  McMichael,  has 
been  indefatigable  in  his  efforts  to  make 
the  convention  a  success.  We  may  expect 
a  wonderful  display  of  fine  photographs. 
The  most  celebrated  photographers  of  this 
country  have  promised  to  exhibit. 

Mr.  Gennertis  now  in  Europe,  and  intends 
to  secure  some  fine  work  from  there  for  ex- 
hibition. Interesting  papers  of  practical 
value  will  be  read  by  Messrs.  J.  Trail 
Taylor,  E.  L.  Wilson,  J.  F.  Kyder,  and 
many  others  eminent  in  the  profession,  in- 
cluding prominent  English  photographers, 
and  a  novel  lecture  on  lighting  and  posing, 
by  Mr.  LaFayette  W.  Seavej\ 

Our  programme  for  proceedings  of  each 
day,  railway  and  hotel  rates,  etc.,  will  be 
published  July  1st  in  detail.  Every  member 
of  this  Association  has  a  part  to  perform. 
The  success  of  the  convention  is  not  depen- 
dent upon  the  Executive  Committee  alone, 
but  each  one  should  do  his  duty  by  making 
an  exhibit  and  taking  an  active  part  in  the 
proceedings. 

Fraternally, 

J.  Landy. 

President. 

The  success  of  any  enterprise  is  almost 
entirely  dependent  upon  the  ability  with 
which  it  is  managed  by  those  who  have  it 
in  control.  Even  under  the  most  favorable 
circumstances,  lack  of  energy  or  skill  on  the 
part  of  those  who  are  appointed  to  conduct 
the  scheme  may  turn  every  well-meant  effort 


186 


THE    PHILADELPHIA    PHOTOGKAPHEB. 


into  a  stumbling-block.  But,  when  a  man 
of  energy  undertakes  to  guide  the  affairs, 
even  obstacles  are  made  the  stepping-stones 
to  success.  We  rejoice  that  we  have  such  a 
man  for  our  coming  convention  at  Buffalo, 
as  local  secretary,  Mr.  H.  McMichael. 

We  are  confident  that  this  convention  will 
be  the  pole-star  for  all  future  conventions. 
In  the  face  of  all  objections,  the  reproach  of 
bad  management  of  the  last  convention,  and 
the  dissatisfaction  of  the  whole  profession, 
Mr.  McMichael  inspired  his  hearers  with 
confidence  and  won  their  promise  to  aid  in 
the  good  work.  But  not  this  alone.  After 
all  the  details  of  arrangement  had  been 
completed,  and  the  space  of  six  thousand  feet 
laid  out,  the  place  in  which  it  was  intended 
to  hold  the  convention  (Music  Hall)  was 
burned.  Nothing  daunted,  Mr.  McMichael, 
with  characteristic  energy,  secured  at  once 
(within  forty-eight  hours)  permission  from 
the  State  authorities  to  occupy  the  State 
Arsenal  for  the  purpose.  Just  as  he  had 
completed  the  diagram  of  the  new  allotment, 
the  printing  establishment  which  had  the 
matter  in  charge  [Buffalo  Express)  was  also 
burned,  and  the  imprint,  together  with  the 
constitution  and  by-laws,  were  destroyed. 
But  our  Secretary  was  equal  to  the  occasion, 
and  now  we  have  everything  in  readiness. 
Almost  all  the  space  has  been  taken  up,  and 
we  are  informed  that  many  of  the  leading 
photographers  of  New  York  —  Sarony, 
Mora,  etc.,  intend  to  make  an  exhibition 
of  their  work. — Editor.] 

Buffalo,  N.  Y.,  May  15,  1885. 

Editor  Philadelphia  Photographer  : 

The  following  are  the  rates  fixed  for  hotel 
accommodations  during  the  P.  A.  of  A. 
Convention  : 


Genesee  House, 

$3.00  to 

$5.00  per  day 

Trift  House,   . 

3.00  to 

3.50         " 

Mansion  House, 

2.50  to 

3.00         " 

United  States, 

2.00 

" 

Stafford  House, 

2.00 

a 

Beusher  House, 

2.00 

a 

The  space  for  stock  exhibits  is  nearly  all 
sold,  and  orders  are  coming  in  very  fast  for 
space  for  photo  exhibits. 

Very  truly  yours, 

H.  McMichael, 

Secretary. 


Editor  Philadelphia  Photographer: 

Dear  Sir:  Having  just  returned  from 
Buffalo,  and  looked  over  the  ground  touch- 
ing the  progress  and  outlook  toward  the 
coming  Convention,  I  am  able  to  say 
through  you  to  the  thousands  who  are  in- 
terested in  the  success  of  our  Association, 
that  the  promise  of  a  great  meeting  never 
looked  better. 

Secretary  McMichael  has  everything  in 
the  best  possible  shape,  and  upon  a  true 
business  plan.  The  great  drill-room  of  the 
State  Arsenal,  some  200  by  140  feet,  without 
pillar  or  post  for  obstruction  to  the  great 
floor,  is  laid  out  like  a  young  city  in  avenues 
and  squares,  where  every  manufacturer 
and  merchant  in  photographic  require- 
ments rents  a  block  upon  which  to  place 
his  exhibit,  and  open  his  office.  Every 
man  gets  a  corner  lot,  for  which  he  pays 
fifteen  cents  per  square  foot,  the  same  as  his 
neighbor.  All  being  served  alike  none  can 
be  dissatisfied. 

Nearly  all  the  space  for  floor  exhibits  is 
taken  already,  which  insures  the  largest 
display  of  goods  ever  brought  together, 
representing  the  photographic  business. 

The  capacity  for  hanging  space  is  larger 
than  we  ever  had,  and  the  prospect  is  good 
for  a  big  show  in  photography,  many  hav- 
ing applied  for  space,  and  others  signified 
their  intention  of  doing  the  same. 

All  things  considered,  the  Association  is 
in  splendid  condition,  and  Buffalo  will  have 
the  honor  of  calling  together  a  larger 
gathering  of  photographers  than  have  ever 
assembled  before. 

It  is  no  longer  necessary  to  urge  upon  the 
fraternity  the  importance  of  participating  in 
our  meetings.  They  understand  and  will 
be  there. 

Tours  truly, 

J.  F.  Ryder. 


Mention  is  made  of  a  paper  manufactured 
in  Japan  from  the  fibre  of  aquatic  plants. 
This  paper  would  be  very  suitable  to  take 
the  place  of  glass,  as  a  support  of  the  photo- 
graphic film,  on  account  of  its  transparency 
and  its  strength.  It  can  be  used  instead  of 
panes  of  glass  in  sash. 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


187 


SOME  OF  THE  BEAUTIES  OF  DRY- 
PLATE  WORKING. 

BY    THOMAS    PRAY,   JR. 
(Continued  from  p.  154.) 

To  continue  the  subject,  it  might  be  neces- 
sary, and,  perhaps,  desirable  to  enumerate 
some  few  further  items  with  regard  to  the 
changeability  of  the  same  makers  of  plates, 
and  the  uncertainity  which  attends  the 
amateur,  even  with  his  best  directed  efforts, 
and  any  increased  amount  of  skill  gathered 
by  experience.  Our  professional  friends, 
having  once  become  used  to  a  plate,  having 
almost  a  known  quantity  of  light,  and  by 
long  experience  having  made  themselves 
perfect,  can  judge  of  the  exposure  by  the 
complexion  of  the  person,  the  amount  of 
light  at  the  time,  knowing  their  lens,  their 
stops,  and  the  sensitiveness  of  the  plate ; 
but  the  amateur  seeks  new  and  inaccessible 
nooks  and  corners,  and  very  frequently  is 
obliged  by  the  movement  of  trams,  of  teams, 
or  of  the  company  in  which  he  may  happen 
to  be  for  the  time,  to  accomplish  a  certain 
thing  at  a  certain  moment  or  hour  of  the 
day,  not  at  all  convenient  or  desirable  as  if 
he  were  to  choose  his  subject,  his  composi- 
tion, or  his  location.  Added  to  this  our 
"immature"  friend  is  very  frequently  mis- 
led by  the  man  who  sells  lenses.  So-and- 
so's  extra  fine,  perfect,  fast  working  lens 
will  do  the  business  in  about  half  the  time 
of  another,  so  our  friends  starts  out ;  he 
may  choose  a  landscape,  an  architectural 
subject,  a  group,  or  some  other  equally  im- 
possible thing  ;  he  may  be  obliged  to  work 
at  short  range  or  an  exceedingly  long  range, 
without  the  time  or  possibility  of  chosing 
a  stand  ;  in  other  words,  he  must  do  the 
best  he  can,  with  a  very  limited  amount  of 
minutes  at  his  command,  with  a  very  un- 
certain factor  in  the  sensitiveness  of  his 
plates,  and  a  great  deal  too  much  confidence 
in  So-and-So's  patent  bust-em-all-to  pieces 
lens. 

But  we  will  ignore  these  facts  of  too  com- 
mon occurrence,  and  start  out  with  our  sup- 
position based  on  the  three  lenses  to  which 
we  have  previously  referred.  These  have 
now  been  reduced  to  two,  Boss  and  Dall- 
meyer,  with  an  occasional  using  of  the 
Suter  for  snap   pictures.     Let   us   suppose 


then  that  we  choose  a  landscape  where  we 
have   not   exactly   the   light   we    want,   in 
which   architectural   subjects    come    in   to 
make  up  the  composition  ;  we  have  a  bright 
sunshine,    a    bright    blue    sky,    positively 
cloudless,  with   all  the  heights  and  depths 
that  it  would  be  possible,  even  by  prear- 
rangement,  to  put  into  such  a  picture.     Our 
exposure  is  made  for  the  average,  expecting 
that  the  sky  may  be  a  little  too  dense,  but 
our  landscape,  in  which  fine  foliage  trees, 
a  handsome  lawn,   trim    trees,  and  a  fine 
house  must  be  brought  out  to  print  well, 
else  our  picture  amounts  to  nothing.   Taking 
all  the  pains  that  is  possible  with  adjust- 
ment, exposure  (and  we  hardly  know  what 
a  light-struck  plate  is),  we  then  find  upon 
the  development  of  this,  that  our  lens  has 
done  its  work  beautifully,  but  on  develop- 
ment we  find  perhaps  everything  except  an 
inch  or  two  of  one  end  of  the  plate  has  de- 
veloped beautifully,  the  lens  has  covered  the 
plate  completely,  we  do  not  know  what  a 
ghost  is  by  personal  experience,  we  know 
nothing  about  a  plate  partly  covered,  and 
from  the  centre  to  the  edge  varying  from 
beautiful   delineation   to  a  complete   blur, 
but  here  we  find  one  end  of  our  plate,  com- 
mencing at  the  end,  working  down  an  inch 
or  more  from  positively  bare  glass  down  to 
the  edge  of  the  film.     Sometimes  the  edges 
of  the  plate  are  in  the  same  condition,  and 
we  find  two,  three,  four,  five  six,  one  after 
the  other  ;  sometimes  we  have  found  these 
strips  across  an  8  x  10  negative,  after  having 
brought  it  three  or  four  hundred  miles,  per- 
fectly   packed,    perfectly    protected    from 
light,  only  to  be  disgusted,  first  with  our- 
selves, next  with  the  much  abused  devel- 
oper, and  after  lengthy  and  expensive  ex- 
perience, only  to  find  that  the  platemaker 
in  order  to  save  a  cent  or  two  in  the  cost  of 
his  plates,   or  to  adopt  some   new-fangled 
notion,  has  packed  (?)  his  plates,  we  might 
say,  how  ?    "When  some  of  the  best  plate- 
makers  in  this  country  have  changed  their 
methods  of  packing  three  times  in  twelve 
months,  five    times  in   sixteen  months,   we 
may   well  enough  ask   whether  the    plate- 
makers  are  experimenting  on  the  credulity 
of  the  amateurs,  or  whether  they  are  ex- 
perimenting at  the  expense  of  We,  Us  and 
Company,  not  in  the  comical  characters  of 


188 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


the  play  with  that  title,  but  meaning  We, 
Us  and  Company,  the  body  of  amateurs. 

Our  own  experience  in  this  respect  has 
covered  very  slow  plates,  medium  plates, 
and  the  very  high-speed  plates,  by  more 
than  one  platemaker.  Some  of  these  (and 
the  stockdealer  must  take  a  part  of  this  to 
himself),  referring  to  the  plates,  have  been 
packed  with  string  between  the  plates, 
others  have  been  packed  with  pieces  of 
blotting  paper  ;  we  have  seen  some  plates 
packed  with  little  strips  of  wood,  and  we 
have  plates  packed  with  a  cheap,  coarse, 
brown  paper  put  upon  the  film  of  one  plate 
with  the  back  of  another  plate  resting  upon 
it.  With  some  of  the  plates,  especially 
where  these  strips  of  blotting-paper  have 
been,  we  have  found  the  pieces  of  paper 
shucked  forward  of  the  little  stops  glued  in 
at  the  sides  of  the  box  to  prevent  their 
moving  more  than  so  far,  and  after  a  great 
deal  of  guesswork,  and  some  comments 
more  forcible  than  polite,  and  a  great  deal 
of  provocation  and  expense,  we  find  that  the 
stockdealers  have  helped  to  carry  out  what 
the  maker  has  thoroughly  given  an  oppor- 
tunity to  do.  Not  long  since,  we  visited 
one  of  the  stockhouses  of  New  York,  asking 
for  some  plates  ;  we  were  shown  where  the 
plates  were  packed  up,  and  we  saw  seven 
dozen  11  x  14's,  packed  flat,  one  dozen  on 
top  of  the  other,  fourteen  packs  of  5  x  8 
plates,  one  on  top  of  the  other.  Some 
14  x  17's  made  on  double  thick  glass  were 
packed  flat  to  the  height  of  six  packages  or 
three  dozen.  The  platemaker  had  care- 
lessly put  in  by  the  cheapest  help  little 
strips  of  blotting-paper,  which  as  every  one 
knows  is  very  absorptive,  presumably  we 
do  him  no  injustice  when  we  say  that  he 
bought  his  blotting-paper  at  eight  or  nine 
cents  a  pound,  not  guaranteed  hypo-clear, 
instead  of  buying  at  twenty  cent?  a  pound, 
positively  guaranteed  all  hypo  eliminated. 
When  by  carefully  weighing  the  pieces  of 
paper  taken  from  between  a  dozen  plates, 
we  find  the  cost  between  blotting-paper  at 
twenty  cents  a  pound  and  eight  cents  a 
pound,  in  packing  5x8  plates,  would 
amount  to  almost  one-eight  of  one  cent  for 
one  dozen  plates,  and  in  the  case  of  8  x  10 
plates,  packed  in  the  same  way,  it  would 
amount  to  precisely  three  sixteenths  of  one 


cent  for  one  dozen  plates.  This  paper 
having  been  cut  a  trifle  too  short,  the  plates 
undoubtedly  packed  on  edge,  and,  perhaps, 
when  they  left  the  platemaker,  had  been 
packed  on  edge  in  boxes,  the  continual 
jarring  of  the  cars,  and  the  spreading  apart 
by  the  plates,  if  different  thicknesses  of 
glass  have  been  used,  the  plates  not  having 
been  packed  firm,  these  little  bits  of  paper 
assume  all  sorts  of  positions  between  the 
plates,  as  they  were  jolted  along  on  their 
journey,  then  the  stockdealer,  wanting  to 
economize  room,  having  packed  them  flat, 
here  is  where  the  mischief  began.  Then 
we  learned  after  our  exposure  all  our  trou- 
ble, expense,  and  the  waste  of  time,  we 
have  a  streak  right  across  in  any  direction, 
completely  spoiling  our  negative,  and  this 
streak  is  invariably  far  wider  than  the  strip 
which  had  been  put  there  for  safety  (?).  In 
the  case  of  rough  paper,  which  is  very 
cheap,  we  took  pains  to  take  from  a  dozen 
plates  made  by  a  prominent  maker  some 
cheap,  sleazy,  poorly  finished,  yellow  paper ; 
and  also  from  the  plates  of  another  maker, 
who  formerly  packed  plates  in  the  best  pos- 
sible manner,  some  thoroughly  calendered, 
hard-finished  yellow  post-office  paper.  On 
obtaining  the  price  from  the  papermaker, 
and  figuring  the  exact  weight,  we  found  the 
total  cost  of  the  finely  finished  yellow  paper 
was  a  trifle  above  three  mills  for  a  dozen 
plates,  8  x  10;  while  the  cost  of  the  cheap 
stuff  was  a  fraction  below  two  mills.  This 
shows  that  dry-plate  makers  can  be  very 
economical. 

We  have  found  plates  of  all  thicknesses, 
from  that  of  a  silver  three-cent  piece  in  the 
smaller-sized  plates,  up  to  a  plate  which 
was  both  thin  and  crooked,  and  lately,  we 
regret  to  find,  as  shown  a  few  weeks  ago 
at  a  lantern  exhibition  of  the  New  York 
Society,  plates  with  from  one  to  six  bubbles 
on  the  transparency  plates,  all  of  which 
showed  up  beautifully  on  the  screen. 

But  to  return  to  the  packing.  We  have 
lately  procured  a  dozen  plates  from  one  of  the 
stockdealers  in  New  York.  We  took  them 
home  Saturday  afternoon,  the  sun  was  shin- 
ing brightly,  and  the  temptation  was  very 
strong  to  spoil  a  plate  or  two.  Having  a 
very  bright  boy  of  ten,  who  is  also  inter- 
ested when  he  gets  a  chance,  we  adjourned 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


189 


to  get  our  cameras  fixed  and  make  some  ex- 
posures. On  looking  the  box  over,  we  found 
the  outside  of  it  as  smooth  as  though  it  had 
been  all  one  piece  of  paper.  It  was  a  bright 
colored  box;  upon  turning  it  over  we  found 
no  sort  of  key  as  to  how  to  approach  it ;  the 
stereotyped  caution  to  open  only  by  rub}7 
light,  and  the  name  of  the  maker  were  all 
that  we  could  find  that  was  intelligible  ; 
here  was  a  conundrum.  We  finally  decided 
to  be  on  the  safe  side,  and  having  used  our 
window-screens,  we  started  with  a  jack- 
knife  taking  off  about  two  inches  of  what 
appeared  to  be  the  bottom  of  the  box. 
Matters  did  not  look  very  promising,  and 
then  we  went  for  the  end  of  the  box ;  after 
whittling  around  this  carefully,  while  hold- 
ing the  box  up  to  see  what  would  happen, 
a  dozen  plates  properly  packed  in  another 
cheap  straw-board  box  slid  out  of  the  end 
of  the  case.  Supposing  we  had  attempted 
this  in  another  light,  even  in  a  proportionate 
examination,  it  would  have  been  all  right 
and  light-proof.  For  champion  botchwork, 
we  give  these  plates  the  biscuit  or  ginger- 
bread, as  the  case  may  be.  This  shows  the 
lack  of  simple  directions  on  the  part  of 
men,  who  expect  us  to  buy  anything  and 
everything  they  try,  or,  as  one  of  my 
friends  recently  remarked  when  speaking  of 
it,  "the  platemakers  seem  to  consider  that 
they  can  throw  their  plates  pell-mell  into 
the  box  in  any  shape,  and  expect  us  to  buy 
a  pig  in  a  poke,  without  asking  any  ques- 
tions or  making  any  objections."  But  we 
do  object  ;  object  not  only  to  making  a  box 
of  a  certain  size  in  which  to  pack  plates, 
and  then  using  glass  of  all  sorts  of  thick- 
nesses, varying  from  one-sixteenth  of  an 
inch  up  to  a  good  plump  eighth  or  thicker. 
Some  of  these  pieces  of  glass  are  so  crooked 
that  nine  or  ten  will  properly  till  the  box, 
and  there  is  sure  to  be  a  smash  when  they 
go  in  a  printing-frame,  others  are  so  thin 
that  the  box  is  never  full,  and  as  they  are 
transported  around  the  country,  the  little 
particles  of  glass,  from  imperfect  cutting, 
litter  down  between  the  plates,  and  are  quite 
as  apt  to  attack  the  film  as  the  back  of  the 
glass,  and  on  development  we  find  any 
quantity  of  spots  where  the  emulsion  has 
been  clean  ground  off  the  glass,  and  we 
have  8  x  10's  to-day   with   a  spatter-like, 


looking  spot,  seven-eighths  of  an  inch  long, 
showing  anywhere  from  five  to  fifteen  of 
these  abrasions.  But  when  the  glass  does 
not  litter  off,  then  the  packing  which  was 
put  in  between  gets  into  creases,  gets  par- 
tially out  from  between  the  films  allowing 
all  the  more  chance  for  the  hypo  from  the 
cheap,  trashy  boxes  to  do  its  work,  which  is 
quite  as  fatal  to  the  film  as  the  white  light. 
Sometimes  the  edges  of  the  plate  are  com- 
pletely clean,  unless  considerable  bromide 
is  used,  in  which  case  instantaneous  plates 
frequently  show  a  metallic  lustre  for  from 
one-eighth  to  three-quarters  of  an  inch, 
sometimes  on  one  or  both  edges  of  the  plate, 
and  sometimes  both  edges  and  both  end. 

One  of  the  prettiest  packages  of  plates 
which  have  ever  come  into  our  possession  is 
a  package  of  extremely  rapid  plates,  which 
were  nicely  packed  in  chemically  neutral 
needle  paper  which  we  have  carefully  tested 
for  hypo,  with  a  soft  fibrous  paper  in  a  con- 
tinual strip,  which  runs  backwards  and  for- 
wards from  one  to  the  other  plate  from 
bottom  to  top,  so  packed  that  there  is  no 
possibility  of  its  getting  loose  or  getting  be- 
tween the  plates  even  if  it  were  charged 
with  hypo.  These  plates  were  packed  by 
Samuel  Fry  &  Co.,  of  London.  We  have 
never  yet. seen  an  American  plate  so  well 
packed,  or  so  absolutely  insured  against 
racking  or  sliding  one  way  or  the  other,  or 
against  any  contamination  by  the  hypo,  if 
it  was  in  the  box,  as  this  brand  of  plates. 
The  package  of  plates  itself  was  wrapped  in 
the  needle-paper  closely,  and  the  package 
was  then  filled  in  the  box,  and  a  wrapper 
pasted  about  it ;  the  cover  sliding  on  to  the 
lower  part  of  the  box  in  such  shape  that  if 
the  glass  were  thick  the  cover  partly  pro- 
tected, and  if  it  was  thin  the  cover  partly 
down,  and  the  outside  wrapper  held  all 
firmly  together.  It  is  also  the  cheapest 
packing  as  well  as  the  must  perfect  that  it 
has  been  our  own  good  fortune  to  see. 

It  would  neither  be  proper  to  encroach 
on  space,  nor  possible  to  spend  time  to 
enumerate  the  particulars  of  many  of  the 
mispacked  plates  which  are  put  on  the  mar- 
ket, and  for  that  reason  our  end  will  be 
answered  if  reform  shall  begin  ;  and  plate- 
makers  may  rest  assured  that  the  several 
amateur  societies  will  shortly  positively  re- 


190 


THE    PHILADELPHIA    PHOTOGRAPHER 


fuse  to  purchase  certain  plates  in  the  market 
unless  improvements  are  made  in  packing. 
To  anticipate  a  question  which  may,  per- 
haps be  asked,  our  own  purpose  is  not  to 
study  how  platemakers  shall  best  pack  their 
plates.  Let  them  perfect  their  manufacture 
without  further  experiment  upon  amateurs. 
Let  stockdealers  be  impressed  with  the  idea 
that  plates  must  be  handled  carefully, 
packed  correctly,  kept  away  from  the  damp- 
ness (and  this  is  possibly  the  reason  why 
many  good  plates  have  been  ruined,  by 
storing  them  in  the  cellar,  or  in  the  wash- 
room or  bath-room,  where  water  was  con- 
venient, without  thinking  that  the  occa- 
sional use  of  the  bath,  and  the  ever-present 
water,  even  in  minute  quantities,  passed 
away  in  the  form  of  moisture  or  fine  par- 
ticles of  water  suspended  in  the  air,  and 
that  this  is  the  most  penetrating  of  anjr  ap- 
plication of  water  to  a  pasteboard  box,  ex- 
cept actual  immersion).  We  believe  this  is 
what  caused  Mr.  Carbutt  to  change  his 
packing  from  finely  finished,  neutral  paper 
between  the  plates,  to  strings  or  small  bits 
between  the  ends  of  the  plate  ;  provided  the 
plates  are  packed  solidly  together,  film  to 
film,  with  hard-finished,  neutral  paper,  and 
then  some  wrapping  of  a  tough,  fibrous 
paper,  free  from  hypo,  free  from  iron  or 
from  the  chemical  used  in  bleaching  or 
acidifying  the  paper  or  cardboard— then,  if 
the  plates  are  too  thick,  they  will  pack  tight ; 
if  too  thin,  let  the  packer  be  taught  to  fill 
up  with  felt  or  with  some  positively  neutral 
material,  so  that  when  the  plates  are  once 
shut  out  from  the  light,  they  shall  also  be 
packed  so  as  to  prevent  shucking  in  the 
boxes.  Then,  if  proper  care  in  eliminating 
chemicals  has  been  exercised,  both  pro- 
fessionals and  amateurs  will,  we  are  sure, 
be  made  to  rejoice  in  their  Summer  tour 
which  is  now  upon  us,  by  the  elimination 
of  many  of  the  difficulties  of  the  season 
of  1884. 

(To  be  continued.) 


AN  ATTEMPT  TO  PHOTOGRAPH 
THE  CORONA. 

BY  W.  H.   PICKERING. 

Photographic  Laboratory,  Mass.  Inst.  Technology. 
It   occurred  to  the  w-riter  that   the  late 
partial  solar  eclipse  would  be  an  excellent 


chance  to  repeat  Huggins's  experiments  on 
photographing  the  corona.  A  three-inch 
refractor  of  about  forty  inches  focal  length 
was  employed.  A  drop-shutter  was  attached 
to  the  lens,  giving  an  exposure  which  was 
estimated  at  about  a  fifth  of  a  second.  A 
piece  of  deep-violet  glass  was  procured, 
which  could  be  inserted  just  in  front  of  the 
plate,  or  removed,  at  pleasure.  By  its  use 
a  negative  image  of  the  sun's  disk  was  ob- 
tained, but  without  it  the  plate  gave  a  re- 
versed image;  the  sun  being  a  positive  and 
transparent,  while  the  surroundings  re- 
mained negative  and  were  dark,  the  ap- 
pearance being  strikingly  similar  to  that  of 
a  photograph  of  a  total  solar  eclipse.  Both 
bromide  and  chloride  plates  were  provided  ; 
but,  as  with  Mr.  Huggins,  the  latter  proved 
to  give  much  the  better  coronal  effects.  A 
ferrous-oxalate  developer  was  employed, 
which  contained  a  large  proportion  of  po- 
tassium bromide.  The  weather  throughout 
the  eclipse  was  wholly  favorable;  and  we 
began  photographing  at  ten  o'clock,  two 
hours  and  twenty  miuutes  befoue  the  eclipse 
began,  and  continued  to  work  until  five 
minutes  past  four,  or  an  hour  and  ten  min- 
utes after  it  had  terminated.  Photographs 
were  taken  every  half  hour,  with  extra  ones 
interpolated  at  the  more  interesting  phases, 
making  twenty-nine  pictures  in  all. 

Very  corona-like  effects  were  certainly 
produced,  faint  rays  here  and  there  shooting 
out  perpendicularly  to  the  sun's  surface. 
But,  unfortunately,  no  two  of  the  pictures 
were  alike,  and  the  corona  in  front  of  the 
moon  was  quite  as  well  marked  as  that  on 
the  other  side  of  the  sun.  Indeed,  the  most 
corona-like  ray  produced,  appeared  in  one 
photograph  stretching  directly  towards,  and 
terminating  at,  the  centre  of  the  moon.  Nine 
photographs  taken  in  succession  showed  one 
side  of  the  halo  stretching  to  a  greater  dis- 
tance than  the  other ;  but  in  one  of  these  the 
darkening  was  carried  so  far  out,  that  it  be- 
came nearly  separated  from  the  rest  of  the 
corona,  and  appeared  as  a  distinct  dark  cir- 
cle of  the  same  size  as,  and  by  the  side  of, 
the  image  of  the  sun.  This,  of  course, 
showed  it  to  be  merely  an  internal  reflection 
of  that  image,  and  nothing  more.  During 
the  course  of  the  experiments,  the  object- 
glass   was  revolved  about  its  optical  axis 


THE  PHILADELPHIA  PHOTOGEAPHEE. 


191 


photographs  being  taken  in  four  positions. 
No  effect,  however,  was  discernible  upon  the 
plates. 

The  conclusions  I  should  draw  from  my 
experiments  are  :  1st,  that,  though  it  is  very 
easy  to  obtain  a  corona-like  image,  one  may 
readily  be  deceived  in  such  matters,  and  the 
same  effect  be  obtained  by  our  atmosphere, 
without  the  aid  of  the  solar  corona,  com- 
bined with  little  defects  in  the  gelatine  film 
(this,  I  think,  is  conclusively  shown  by  the 
extension  of  the  pseudo- corona  in  front  of 
the  moon) ;  2d,  that  chloride  plates  are  more 
suitable  than  bromide  for  obtaining  an  at- 
mospheric corona,  just  as  Mr.  Huggins  has 
claimed,  that  they  are  more  suitable  for  tak- 
ing a  solar  one ;  hence,  I  think,  one  must 
not  rely  too  much  on  the  ultra-violet  region 
sensitiveness  of  the  chloride  plate  for  a  sepa- 
ration of  the  two;  lastly,  though  my  experi- 
ments fail  to  corroborate  Mr.  Huggins's 
results,  they  do  not,  of  course,  show  that  his 
corona  may  not  be  solar,  but  merely  indicate 
that  under  very  favorable  circumstances  I 
could  obtain  no  trace  of  it. 

I  have  before  me  a  print  made  from  a 
negative  by  Dr.  0.  Lohse,  in  October,  1878, 
showing   effects   very  similar  to   those  ob- 


tained by  myself,  except  that  his  view  was 
not  taken  during  an  eclipse.  He  considers 
that  the  halo  is  wholly  atmospheric,  and  not 
coronal. 


The  following  developer,  of  which  M.. 
Roger  gives  the  approximate  formula,  has 
variable  proportions,  according  to  the  neces- 
sities of  the  case.  The  following  substances 
are  used  :  Solution  of  sulphite  of  soda  to 
saturation ;  of  carbonate  of  soda  at  25  per 
cent. ;  of  carbonate  of  potash  at  25  per  cent. ; 
and  of  bromide  of  potassium  at  10  per  cent. ; 
and,  lastly,  pyrogallic  acid  in  powder. 

To  make  a  bath  suitable  for  developing 
a  print  18  by  24  centimetres,  the  following 
mixture  is  made : 


Water, 

Carbonate  of  soda,     . 
Carbonate  of  potash, 
Sulphate  of  soda, 
Pyrogallic  acid, 


.     200  grammes. 

10  c.c. 

10  c.c. 
3  to  4  c.c. 

1  gramme. 


If  underexposed,  use  the  developer  more 
highly  concentrated,  and  force  a  little  in 
carbonate  and  sulphite  of  soda.  If  there  be 
overexposure,  force  in  carbonate  of  potash 
with  the  addition  of  bromide  of  potassium. — 
Paris  Moniteur. 


Pictures  Received. — From  Mr.  H.  Frank 
Beidel,  Shippensburg,  a  nnmber  of  well-selected 
views  of  scenery  along  the  Western  Maryland 
Railroad.  They  are  excellent  as  photographs 
and  evidence  much  artistic  taste  on  the  part  of 
the  operator.  From  Mr.  Groneman,  Fort  Dodge, 
Iowa,  several  portraits  well  lighted,  with  excel- 
lent taste  in  the  arrangement  of  the  back- 
grounds. From  Mr.  Carmany,  a  boudoir  por- 
trait very  soft  and  pleasing  in  gradation  of 
lights  and  shades,  bearing  evidence  of  skill  and 
judgment  in  the  arrangement  of  the  lights. 

Mr.  W.  J.  Stillman,  Associate  Editor  of  the 
Photographic  Times,  being  about  to  go  over  to 
England,  where  his  family  have  been  sojourn- 
ing, was   entertained  at  dinner  on  the  evening 


of  the  22d  ultimo,  at  Delmonieo's  by  a  number 
of  the  leading  photographers  of  New  York  City. 
On  the  day  following  Mr.  Stillman  sailed  by 
the  Adriatic.  The  editorial  staff  of  the  Photo- 
graphic Times,  representatives  of  the  Nation 
and  Evening  Post,  and  a  number  of  friends  were 
present  to  wish  him  bon  voyage. 


The  attention  of  our  readers  is  called  to  the 
advertisement  of  Mrs.  W.  W.  Sloan,  of  Jefferson, 
Texas.  We  know  Mrs.  Sloan  personally,  and 
know  that  she  will  not  misrepresent  anything 
pertaining  to  her  property.  It  seems  to  us  like 
a  very  good  chance  for  somebody. 


The  Philadelphia  Photographer  is  now  in 
its  twenty-second  year.  Besides  being  the  oldest 


192 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


monthly  on  photography,  it  is  certainly  the  best. 
It  is  edited  and  owned  by  Mr.  Edward  L. 
Wilson,  who  has  charge  of  the  Photographic 
Department  of  the  New  Orleans  Exposition,  and 
who  is  the  standard  American  author  on  matters 
pertaining  to  his  art.  His  book,  Wilson's  Pho- 
tographics,  is  not  only  the  largest  but  the  most 
complete  work  ever  issued  on  photography. 
The  May  number  of  the  Philadelphia  Photog- 
rapher contains  a  picture  of  a  Michigan  girl 
that  is  certainly  one  of  the  loveliest  portraits  ever 
produced,  Michigan  can  now  take  its  place  at 
the  head  of  the  class  in  the  matter  of  beautiful 
women.  The  photograph  was  taken  by  Mr.  W. 
Wykes,  of  Grand  Rapids,  and  it  is  a  triumph 
of  posing  and  in  the  treatment  of  light  and 
shade.  The  girl  with  the  perfect  profile  wears 
one  of  those  picturesque  cartwheel  hats  that 
is  the  delight  of  the  artist  and  the  despair 
of  the  man  who  sits  behind  it  in  the  theatre. 
The  Philadelphia  Photographer  goes  in  a 
good  deal  for  Michigan  portraiture,  and  it  is 
needless  to  say  that  each  picture  is  worth 
more  than  the  whole  year's  subscription.  In 
the  December  number  last  year  it  gave  a  picture 
of  a  little  boy,  the  son  of  Mr.  W.  H.  Allen,  of 
Grosse,  111.,  that  is  probably  one  of  the  best 
pictures  of  a  child  ever  photographed.  Of 
course  the  choice  of  a  subject  has  much  to  do 
with  the  attractiveness  of  the  picture,  and  this 
little  fellow,  with  his  chubby  face  and  long  curls, 
would  have  made  a  pretty  picture  in  even  the 
roughest  sketch. — Detroit  Free  Press. 

San  Fran-cisco,  May  2,  1885. 
Editor  Philadelphia  Photographer. 

Sir  :  Your  picture  in  the  April  number  of  the 
Philadelphia  Photographer,  and  your  kind 
words  of  praise  were  duly  appreciated  by  the 
members  of  the  P.  C.  A.  P.  A.,  and  on  their  be- 
half I  beg  leave  to  thank  you. 

At  the  March  meeting  the  following  offieers 
were  elected  for  the  ensuing  year  : 

President. — Mr.  Sidney  Smith. 

Vice-President. — Mr.  AV.  H.  Sowden. 

Secretary  and  Treasurer. — Mr.  W.  M.  Speyer. 

Corresponding  Secretary. — Mr.  W.  B.  TrLER. 

Rooms  No.  318  Pine  Street,  San  Francisco. 

The  Association  now  comprises  some  thirty 
members — all  active  members.  That  the  office 
of  corresponding  secretary  may  not  be  a  sine- 
cure, I  intend  to  keep  you  posted  hereafter  on 
matters  of  photographic  interest  generally,  and 
the  doings  of  our  Society  in  particular.  I  shall 
at  all  times  be  ready  to  answer  the  queries  of 
your  readers  on  anything  appertaining  to  pho- 


tography in  California,  and  our  members  are 
willing  and  anxious  to  exchange  prints  with 
eastern  amateurs.  Letters  and  photographs 
addressed  to  me  will  meet  with  prompt  atten- 
tion. We  extend  a  cordial  invitation  to  all 
amateurs  visiting  California  to  come  and  see  us, 
and  we  promise  to  make  it  as  pleasant  for  them 
as  we  know  how.  Will  send  you  reports  of  our 
next  and  succeeding  meeting.         W.  B.  Tyler. 


Another  Reduction  in  Prices  op  Dry 
Plates. — We  see  by  the  circular  before  us  that 
with  one  or  two  exceptions  the  dry-plate  makers 
have  made  another  reduction  in  the  price  of 
plates.  The  value  of  any  article  is  limited  by 
the  supply  and  demand.  If  the  demand  in- 
creases the  supply  will  increase  and  the  ex- 
changeable value  decrease,  but  there  is  a  certain 
limit  to  this  decrease  in  value  beyond  which 
there  ceases  to  be  a  reasonable  profit,  and  when 
this  happens  the  natural  tendency  is  to  deteri- 
oration in  quality.  This  cut  in  prices  by  the 
dry-plate  makers  looks  very  much  like  a  war  of 
prices,  and  as  the  readers  of  this  journal  know 
our  views  on  this  subject  there  is  no  need  of  re- 
peating them  here.  Photographers  may  hail 
with  delight  every  diminution  in  the  cost,  but  it 
does  not  seem  reasonable  to  expect  plates  of 
first-class  quality  to  be  bought  for  much  less 
than  their  present  rates.  If  the  lowering  of  the 
price  is  forced  upon  the  makers  by  a  few  who 
are  anxious  to  gain  a  transient  popularity,  we 
fear  that  no  alternative  will  be  left  but  an  un- 
wise economy  in  material,  and  a  consequent 
deterioration  of  the  plates.  Dry-plate  makers 
are  not  anxious  above  other  men  to  shine  as 
philanthropists,  and  we  should  not  expect  them 
to  give  an  ounce  of  silver  in  the  sensitive  films 
for  three-quarters  of  an  ounce  in  money. 


Every  month  brings  improvements  in  the 
manufacture  of  camera-boxes.  We  imagine  that 
the  limits  of  convenience  and  compactness,  com- 
bined with  practicability,  have  been  reached, 
only  to  find  that  some  new  addition  or  modifica- 
tion has  caused  a  manifold  increase  in  the  value 
of  the  old  form  of  apparatus.    The  Blair  Touro- 

GRAPH    AND     DRY-PLATE     COMPANY,    of    Boston, 

merit  high  praise  for  the  ingenuity  and  skill 
they  display  in  the  compactness,  lightness,  and 
convenience  of  their  cameras.  They  have  many 
points  to  recommend  them  to  amateurs  and  pro- 
fessionals. The  feather-weight  plate-holders  are 
constructed  on  a  plan  which  insures  great  light- 
ness, and  are  kept  in  position  upon  the  camera 
by  a  novel  contrivance  which  obviates  the  re- 
moval of  the  ground-glass. 


MAKE  OUT  YOUR  OWN  BILL,  and  remit  cash  with  your  advertisements,  or  they  will  not  be 
inserted. 

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must  be  received  by  the  23d  to  secure  insertion.  Advertisers  will  please  not  ask  us  for  recommendations. 
4®*  We  cannot  undertake  to  mail  answers  to  parties  who  advertise.  Please  always  add  your  address  to  the 
advertisement.     Postage-stamps  taken. 


-^l 


Backgrounds,  Etc. 
Coming  out  weekly. 
New  designs  for  the 
Spring  and  Summer 
Season.  Replenish  your 
stock  now  ?  Do  not  wait 
until  July  or  August.  From  our  six  hundred 
designs  all  climes  and  conditions  can  be 
suited. 

Twenty  Second-hand  Backgrounds,  some 
as  good  as  new,  at  half  price.  Trees,  Walls, 
Balustrades,  Garden-seats,  Gates,  etc.,  in 
stock  for  immediate  shipment.  Call  and 
inspect  our  show-room. 

Lafayette  W.  Seavey, 
Studio,  216  E.  Ninth  St.,  N.  Y. 


W.  F.  ASHE 

ARTISTIC   BACKGROUNDS 

AND 

ACCESSORIES, 

BEMOVED  TO  68  WEST  FOTJKTH  ST., 
4  Blocks  West  of  Broadway,  N.  Y. 

My  new  studio  is  fitted  up  with  all  the  mod- 
ern improvements,  and  the  most  refined  demands 
from  a  critical  public  can  be  satisfied.  A  visit 
to  my  establishment,  which  has  the  largest 
showroom,  containing  the  greatest  amount  of 
stock  of  any  place  in  the  world,  will  be  grate- 
fully appreciated. 

I  have  again  added  numerous  new  designs  to 
my  great  variety  of  patterns  for  backgrounds 
and  accessories,  and  keep  also  in  stock  a  large 
quantity  of  goods  for  parties  to  select  from, 
saving  time  and  delay  on  orders. 


ROCKf  00D  SOLAR  PRINTING  CO. 

17  Union  Square,  New  York. 

TIME. — It  is  our  intention  that  every  order 
received  in  the  morning's  mail  (when  not  to  be 
put  on  stretchers)  shall  leave  this  establishment 
the  same  day  or  the  following  morning.  If  too 
late  for  the  morning  work,  it  is  sent  on  the  sec- 
ond day.  Having  our  own  engine  and  electric 
light,  toe  are  not  at  all  dependent  on  the  weather. 
GEORGE  H.  ROCKWOOD, 
Business  Manager. 


VOGEL'S  PROGRESS  OF  PHOTOGRAPHY, 

LATEST— BEST— $3. 


Every  photographer  in  want  of  excellent 
lenses,  for  any  purpose,  will  best  serve  his  interest 
by  consulting  the  new  illustrated  price-list  of 
Messrs.  Benjamin  French  &  Co.  before  pur- 
chasing. 


Address  T.  W.  Power,  N.  Y.,  Secretary  of 
Association  of  Operative  Photographers  of  New 
York  City,  for  operators,  printers,  and  re- 
touchers, 392  Bowery,  or  487  Eighth  Avenue. 


Vogel's  Progress  of  Photography, 


LATEST-BEST-^ 


194 


THE    PHILADELPHIA    PHOTOGRA  P  II  KR. 


WAYMOUTH'S 

No.  18.  Ta™  No.  18. 

The  old  form  of  No.  18,  Waymouth's  Vignette 
Papers,  oval,  has  been  discarded,  and  a  new 
pear-shaped  style  is  now  ready  in  its  place.  It 
is  a  beautiful  piece  of  gradation  and  prints 
perfectly.  Price  $1.25  per  dozen.  For  sale  by 
all  dealers.     See  advertisement  for  all  sizes. 

No.  18.  nowahadt.  jjo.  18. 

PORTRAITS  IN  CRAYON. 
The  new   book    by   E.   Long,   on   the   art  of 
making  portraits   in   crayon   on   solar  enlarge- 
ments, covers  the  entire  ground,  and  is  sold  for 
the  low  price  of  fifty  cents.     For  sale  by 

Edward  L.  Wilson, 

Philadelphia. . 

METAL  GUIDES 

FOR 

A.  M.  COLLINS,  SON  &  CO.'S 
No.  26  Gilt  Bevelled-edge  Cards. 
The  fancy-shaped  mounts  now  so  fashionable 
among  photographers,  require  metal  guides  with 
which  to  cut  the  photographs.  They  are  now 
kept  on  hand,  and  can  be  supplied  in  the  follow- 
ing shapes,  and  at  the  prices  mentioned  : 

Each. 

Cross $1  05 

Star 1  00 

Palette 90 

Leaf 90 

Bell  90 

Crescent 80 

Egg 50 

Triangle 90 

For  sale  by  Edward  L.  Wilson, 

1125  Chestnut  Street, 
Philadelphia,  Pa. 

We  are  Ready. 
Owing  to  the  sudden  increase  in  the  demand 
for  the  Rockwood  Dry  Plates,  we  were  obliged 
through  the  months  of  July  and  August  to  de- 
cline many  orders.  We  have  now  more  than 
quadrupled  our  facilities,  and  introduced  im- 
provements which  will,  we  hope,  enable  us  to 
fill  orders  with  promptness,  and  give  us  plates 
possessing,  if  possible,  still  more  sensitiveness 
and  uniformity.  For  price-lists  and  samples  of 
tcork  done  by  the  "Rockwood  Plate," 

Address     J.  A.  Randel,  Manager, 

17  Union  Square,  New  York. 


THE  LIGHT  RUNNING 


vm 


SEWING  MACHINE 


SIMPLE 


THE  ONLY  SEWING  MACHINE 

L         .  THAT  GIVES  . J 


PERFECT  SATIMGTM 


SEWING  MACHINE  CO 


ORANGE  MASS. 

30  UNION  SQ.N.Y.   CHICAGO  ILL. 
ST.  LOUIS  MO.  ATLANTA  GA. 

^qFORSALEBYF1- 


M.  WEKNEK, 
PORTRAIT    ARTIST, 

No.  102  N.  Tenth  Street,  Philadelphia. 

Photographs  finished  in  crayon,  India  ink, 
water  colors,  and  pastel,  in  all  sizes,  in  the  very 
best  styles,  and  at  moderate  prices. 

Solar  Prints  and  Enlargements  Furnished. 


THE    PHILADELPHIA    PHOTOGRAPHER. 


195 


WILSON'S  PHOTOG-RAPHICS. 

It  leads  the  nose  right,   and  presents 

to  the  eye  "  a  perfect  cyclopaedia  of 

photography . " 


For  Sale. — At  low  prices,  Morrison  lenses 
American  Optical  Company's  camera  boxes, 
holders,  tripods,  printing  frames,  etc.  By  the 
end  of  June  I  expect  to  complete  my  work  at 
the  N.  0.  Exposition,  and  will  have  a  large 
number  of  lenses,  etc.,  for  sale  at  greatly  reduced 
prices.  Everything  will  be  guaranteed  in  first- 
class  order,  and  as  the  dry  process  has  been  used 
entirely,  everything  will  be  clean  and  reasonably 
perfect.  For  list  of  articles  and  terms,  apply  to 
The  Centennial  Photographic  Co., 
S.  E.  Gallery,  Main  Building, 

Exposition,  New  Orleans. 


WILSON'S  PHOTOG-RAPHICS. 

All  about  emulsion  work  and  plate  mak- 
ing—a  whole  hig  chapter.     See  index. 

$4.00  Buy  it.  $4.00 


A  Rare  Chance. — Fully  equipped  gallery  to 
rent.  Only  one  in  the  town.  Population  about 
3000.  None  but  first-class  photographers  need 
apply.  I  will  sell  my  stock  at  cost.  Send 
specimen  of  work  and  picture  of  self.  Cause, 
my  husband's  death.  For  particulars,  address 
Mrs.  W.  W.  Sloan, 

Jefferson,  Texas. 


THE  BEST  YET! 
$2000  will  buy  a  well-arranged  and  equipped 
gallery,  fitted  up  ten  months  ago,  in  a  town  of 
12,000  inhabitants.  Operating  room  28  x  40. 
North  light.  5000  paying  negatives.  Location 
first-class;  between  the  only  two  other  galleries 
in  the  place.  Prices,  $3.00  and  $5.00.  A  signed 
agreement  between  photographers,  and  money 
deposited  in  bank  with  price  list,  to  avoid  any 
cut-throat  act.  No  sitting  made  unless  paid  for. 
County  seat.  Three  railroads.  Trade  from 
twenty  country  towns  and  a  fine  farming  dis- 
trict. No  postals.  Do  not  write  unless  you 
mean  business.  No  sickly  reasons  for  selling. 
M.  C.  Beverage, 

Marshalltown,  Iowa. 

SITUATIONS  WANTED. 

No  charge/or  advertisements  under  this  head;  limited 
to  four  lines.     Inserted  once  only,  unless  by  request. 

As  printer  and  toner.  Address  C.  F.  Toomer, 
Plymouth,  111. 

As  printer,  toner,  and  assistant  retoucher,  or 
as  general  assistant.  I  am  used  to  first-class 
work.  Address  W.  S.  Capwell,  Box  98,  Factory- 
ville,  Wyoming  Co.,  Pa. 

With  a  first-class  photographer,  by  an  ex- 
perienced artist  in  crayon,  India-ink,  water 
colors,  printing,  and  negative  retouching.  Ad- 
dress, stating  wages,  Miss  H.  H.  Daley,  105  W. 
Fifty -fourth  Street,  New  York  City. 

In  a  first-class  gallery,  by  a  competent  operator, 
copyist,  and  retoucher  of  artist  work.  Samples 
of  work  and  best  recommendations  furnished. 
Address  Wm.  Schaeffer,  Market  St.  and  Bridge, 
West  Philadelphia. 

As  printer  and  toner.  Reference,  Fredericks, 
Ninth  and  Broadway,  N.  Y.  Address  John  F. 
Goehrig,  524  Adeline  St.,  Trenton,  N.  J. 

By  a  portrait  artist.  Excellent  draughtsman 
in  crayon,  cnarcoal,  and  India-ink.  Speaks 
several  languages  fluently;  familiar  with  pho- 
tography ;  would  like  to  associate  himself  with 
a  first-class  photographer,  or  take  a  position 
during  the  summer.  Address  P.  0.  Box  188,  Phila. 


196 


THE   PHILADELPHIA   PHOTOGEAPHEE. 


For  the  summer,  by  a  first-class  operator,  with 
full  knowledge  of  wet  and  dry  plates,  either 
out-door  or  portrait  work.  First-class  recom- 
mendations for  work  and  character  furnished. 
Address  H.  Goodman,  Lock  Box  195  P.  0.  Phila. 

By  an  A  1  retoucher.  Address  W.  Frantz, 
203  Market  St.,  Philadelphia. 

By  a  young  man,  as  printer  and  assistant 
retoucher.  Address  Photographer,  Box  531 
Wysox,  Pa. 


By  a  strictly  temperate  young  man,  as  printer, 
can  operate  and  retouch.  Samples  sent.  Good 
reference.  Address  W.  J.  C,  86  Twenty-second 
St.,  Chicago,  111. 

By  a  first-class  photographer,  where  good 
work  and  system  are  required.  Address,  stating 
salary,  E.  B.  S.,  P.  0.  Box  200,  McKeesport,  Pa. 

By  a  reliable  first-class  retoucher  and  printer. 
Address  C.  W.  G.  Miller,  253  State  St.,  Bridge- 
port, Conn. 


■THE!    STAR 


LATSS. 


3/4  x  4^  size,  per  dozen,     .         .         .         .         .     $o 

4x5  » 

454  x  5%  » 

4^  x  ey2  » 

5x7  » 

5  x  8  »  »  1  15 

6%  x  S%  »  »  1  S3 


10  x  12  size,  per  dozen, 

11  x  14    »  » 


17  x  20 

18  x  22 
20  x  24 


$3  35 
4  5o 
6  75 
10  75 
12  00 
14  00 
18  00 


8  x  10      »  »  .        .        .         .  2  35 

We  will  give  you  one  dozen  5  x  7  Star  Plates  with  your  next  order  if  you  buy  ten  dollars' 
worth  of  photo,  stock  and  mention  this  advertisement. 

BUCHANAN,  SMEDLEY  &  BROMLEY,  Sole  Philadelphia  Agents, 

Wo.  25  North  Seventh  Street. 
THE  PZiATlNOTYP-E,  Patented.     Send  ten  cents  for  instructions  and  sample,  portrait  or  landscape. 

"WILLIS  &  CLEMENTS,  No.  25  North  Seventh  Street,  Philadelphia,  Pa. 

BUCHANAN,  SMEDLEY  &  BROMLEY, 
GENERAL   AGENTS    FOB    THE    SALE    OP    MATERIALS. 


ARTISTIC  PHOTOGRAPHY, 

AND  HOW  TO  ATTAIN  IT. 

By    LYMAN    G.    BIGELOW. 


Owing  to  the  ready  sale  of  the  first  edition,  we  are  enabled  to  produce  the  new  one  at  less 
cost,  and  now  at  a  REDUCED  PRICE,  $4.00,  we  are  enabled  to  place  it  within  the 
reach  of  everybody. 

EXAMINE  THE  CONTENTS. 


BEADING  MATTEE. 

I.  Introductory. 
II.  Artistic  Light. 

III.  Balance  of  Lines. 

IV.  Chiaro-oscuro. 

V.   Backgrounds  and  Accessories. 
VI.    Composition,  Bules,  and  Maxims. 
VII.    The  Studio. 
VIII.  Formula  well  proved  and  used  by  the 
author  in  producing  the   work  em- 
ployed to  illustrate  his  book. 
IX. 


PHOTO.  ILLUSTEATIONS. 

1 .  Cloud  Portrait. 

2.  Cabinet  Medallion  of  a  lady. 

3.  Cabinet,  plain — boy  on  a  velocipede. 

4.  Promenade,  lady  [interior). 

5.  Promenade,  lady  [moonlight). 

6.  Cabinet,  gentleman  [bust). 

7.  Cabinet,  lady  (f  length). 

8.  Cabinet,  lady  [bust). 

9.  Cabinet,  lady  (f  length). 

10.  Pro?nenade,  group. 

1 1 .  Promenade,  group. 

12.  Promenade,  seaside. 


Printing  and  toning  formulae. 

Together  with  a  plan  of  Mr.  Bigelow's  skylight. 
g@r  A  fine  lot  of  studies  and  capital  instructions  for  producing  them. 

EDWARD  L.  WILSON,  Photo.  Publisher,  1125  Chestnut  St.,  Phila. 


THE    PHILADELPHIA    PHOTOGEAPHEK. 


197 


TO  GET  A  PICTURE  EVERY  TIME,  USE 

THE  HWDfllT-DUIMT  DRY  PLATE. 

Made  by  the  Oldest  Dry-Plate  Maker  in  the  United  States. 

Rapid,  Brilliant,  Clean,  Uniform,  and  of  the  Finest  Printing  Quality. 
No  Danger  of  Fog  from  Mat. 

RED  LABEL  SHOWS  TWENTY-FIVE  WARNECKE 

WHITE  LABEL  SHOWS  TWENTY  WARNEOKE. 

BLUE    LABEL    GELATINO-ALBUMEN    TRANSPARENCY     PLATE. 

EVERT  EMULSION  GUARANTEED,    COATED  ON  BEST  ENGLISH  GLASS. 
LOOK  AT  OUR  PRICES: 


3*  x  f  tf , 
4x5, 

4tf  x  6%, 

5x7, 
5x8, 

6^x8^, 


Red  or  Blue 

White 

Label 

Label. 

.    $0  45 

$0  45 

8x10, 

65 

60 

10  x  12, 

75 

70 

11  x  14, 

90 

85 

14  x  17, 

1  10 

1  00 

16  x  20, 

1  25 

1  15 

17  x  20, 

1  65 

1  60 

18  x  22, 

Red  or  Blue 

White 

Label. 

Label. 

2  40 

2  30 

.      3  80 

3  65 

5  00 

4  75 

9  00 

8  75 

.    12  50 

12  00 

.    13  50 

13  00 

.    15  50 

15  00 

FOR     SALE     BY     ALL     DEALERS. 


Buchanan,  Smedley  &  Bromley,  sole  Agents  tor  PMiada. 


MANUFACTURED  BY 

THE  MAWDSLEY-DUMONT  DRY  PLATE  CO. 


ROCHESTER,  N.  Y. 


The  PHOTOGRAPHIC  COLORISTS'  GUIDE 

By  the  late  JOHN  L.  GIHON. 


PHOTOGRAPHIC  COLORING.— The  growing  demand  for  a  fresh  work  on 
Photographic  Coloring,  one  that  contains  full  instructions  on  all  the  new  and  improved 
methods — for,  like  Photography  itself,  Photo.  Coloring  has  improved  and  progressed — has 
led  to  the  publication  of  the  same. 

A  Tremendous  Demand  for  the  Book  continues.     Read  what  it  contains. 


Preface.  Chap.  V".  Relative  to  the  Use  of  Paints  that 

are  Mixed  with  Oil. 
VI.  Coloring  with  Pastels. 
VII.  The  Production  of  Ivorytypes. 
VIII.  The  Crystal  Ivorytype. 
IX.  Crayon  Work. 

X.  Negative  Retouching. 
XI.  About  Matters  so  far  Forgotten. 
XII.  Rudimentary  Perspective. 

The  last  chapter  is  on  a  subject  entirely  new  and  fresh,  and  is  finely  illustrated. 


Chap.  I.  On  India-ink  "Work. 

II.  The  Principles  to  be  Considered 
in  the  Application  of  Colors. 

III.  The  Materials  used  in  Finishing 

Photographs  with  "Water  Colors. 

IV.  Water-color  Painting  as  Applied 

to  Photographs. 


Mailed  on  receipt  of  price,  $1.50  per  copy. 
EDWARD  L.  WILSON,  Photo.  Publisher,  1125  Chestnut  Street,  Philada. 


198 


THE    PHILADELPHIA    PHOTOGRAPHER. 


jA/t  this  ssAsonxr 

THE  BEST  BOOK   FOR  AMATEURS  AMD  ALL   IS 

ROBINSON'S 

PICTORIAL  EFFECT  IN  PHOTOGRAPHY. 

Should  be  Read   by  Every  Negative  Maker  Practising 
In  and  Out  of  Doors. 

NOW  IS  THE  TIME  TO  READ  IT. 


CONTENTS. 


SHAP. 

I.  Introductory. 
II.  The  Faculty  of  Artistic  Sight. 

III.  Balance  of  Lines  and  Contrast. 

IV,  Balance — Example. 

V.  Balance — Examples — {continued). 
VI.  Unity. 
VII.  Examples — Expression. 
VIII.  Practice — The  Choice  of  a  Subject. 
IX    Simple  Rules. 
X.  Figures  in  Landscape — Truth. 
XI.  The  Sky. 
XII.  The  Legitimacy  of  Skies  in  Photographs. 

XIII.  The  Composition  of  the  Figure. 

XIV.  Pyramidal  Forms. 
XV.  Variety  and  Repetition. 

XVI.  Variety  and  Repetition  (continued) — Repose — 
Fitness. 


XVII.  Portraiture. 

XVIII.  Portraiture — The  Management  of  the  Sitter. 

XIX.  Portraiture— The  Pose. 

XX.  Portraiture — Groups — Proportion. 

XXI.  Backgrounds. 

XXII.  Accessories. 

XXIII.  Some  Old  Notions  Touching  Portraiture. 

XXIV.  Chiaro-oscuro. 

XXV.  Chiaro-oscuro — Detail  or  Definition. 

XXVI.  Chiaro-oscuro — Various    Arrangements    of 
Light  and  Shade. 

XXVII.  Chiaro-oscuro  —  Various    Arrangements    of 
Light  and  Shade  (continued ). 

XXVIII.  Chiaro-oscuro— Breadth. 

XXIX  Chiaro-oscuro — Portraiture — The  Studio. 

XXX.  Chiaro-oscuro — General  Considerations. 

XXXI.  Conclusion. 


No  one  can  study  this  excellent  work  without  being  better  able  to  pose  and 
compose  his  subjects,  and  to  light  them  more  artistically.  Those  who  are 
unskilled  comparatively,  hardly  realize  how  much  there  is  to  learn  that  is  of 
value  to  them.  This  book  will  open  their  eyes  and  enlighten  them,  if  they 
can  but  see  when  their  eyes  are  open. 

IT  IS  THE  MOST  POPULAR  PHOTO.  WORK  EVER  PUBLISHED  IN  EUROPE. 

IT  IS  THE  BOOK  WANTED  NO  W  BY  THE  AMERICAN  PHOTOGRAPHER,  TO  POST 

HIM  ON  THE  A.MT  OF  PHOTOGRAPHY. 


Cloth,  $1.50;  Paper,  $1.00.    Illustrated. 
WHAT   ITS  READERS  SAY. 

"  Mr.  H.  P.  Robinson's  Pictorial  Effect  in  Photography  is  a  gem,  the  par  excellence 
of  all  photographic  books.  Its  pages  are  full  to  a  letter  of  choice  and  valuable 
instruction.  If  there  is  one  who  has  not  read  it  I  would  advise  him  to  do  so  at  once." 
— G.  F.  E.  Pearsall,  Brooklyn,  N.  Y. 

"I  would  advise  all  photographic  art  students  to  obtain  a  copy  of  Mr.  H.  P. 
Robinson's  Pictorial  Effect  in  Photography,  one  of  the  best  and  most  complete  works 
ever  published  on  the  subject  for  the  benefit  of  photographers.  Read  it  over  and 
over.     Every  page  teaches  a  grand  lesson." — James  Mullin,  Lexington,  Kentucky. 

EDWAED  L,  WILSON,  Publisher,  1125  Chestnut  St.,  Philada. 


THE   PHILADELPHIA   PHOTOGEAPHEE. 


199 


GAYTON  A.  DOUGLASS. 


HENRY  G.  THOMPSON. 


Douglass,  Thompson  &  Co. 

229  &  231  State  St,  Chicago,  111. 

MERCHANTS  IN  SUPPLIES  FOR  THE 

Art-Soienoe  of  Pliotograpliy 

Photographers'  Booksellers,  Stationers,  and  Newsdealers. 

CARBUTT'S 

Keystone  Dry  Plates 

AND  PHOTOGRAPHIC  SPECIALTIES. 

Specials  for  Portraiture. 

A.  for  Transparencies. 

B.  for  Landscapes  and  General  Pho- 
tography. 


OPAL    PLATES,  Gelatino- Albumen  or  Gelatino- 
Chlorides,  for  Positives  and  Transparencies. 


Multum  in  Parvo  Dry-Plate  Lantern. 

Carbutt's  Pyro.  and  Potash  Developer,  Concentrated, 

Two  8oz.  bottles  75  cents. 

Kuby  Paper  and  Negative  Varnish. 


FOB  SALS  BY  ALL  DEALEBS. 


JOHN  CARBUTT,  Keystone  Dry-Plate  Works, 

Wayne  Junction,  Philadelphia,  Pa. 

HODGE   &  HUSTON, 

THE  SOLAR   PRINTERS, 

622  Arch  Street,  Philadelphia. 

PERMANENT  PRINTS  BY  THE  PLATINUM  PROCESS. 
■ELECTRIC  LIGHT. 


200  THE    PHILADELPHIA    PHOTOGEAPHER 

PASSAVANT'S  BRY^LATES 

ARE  CONCEDED  ET  THE  LEADING  PHOTOGRAPHERS 
OF  THE  PACIFIC  COAST  TO  BE 

THE  BEST  AND  MOST  RELIABLE  IN  THE  MARKET. 


GIP. 

HL. 


Specially  for  Portraiture  and  Instantaneous  Views, 
requiring  one-half  the  time  of  other  Dry  Plates, 
working  with  great  softness  and  delicacy. 

For  ordinary  Studio  Work  and  Landscape. 


^ PRICE 

LIST. **- 

Per  Doz. 

Per  Doz. 

Per  Doz. 

3X*4X,     • 

.     .  $0  60 

5x8,. 

.      .    $1    75 

11x14,      . 

.     .     $6  50 

4      x      5,      . 

.     .          90 

6^x8^,      . 

.     .     2  30 

14  x  17,      . 

.     .     12  00 

4^x6K,      • 

.     .     1   20 

8      x  10, 

.     .     3  40 

17x20,      . 

.     .     20  00 

5x7, 

.     .     1  75 

10  x  12, 

.    .    5  00  ■ 

18  x  22,      . 

.     .     24  00 

Numerous  testimonials  from  all  parts  of  the  States  at  hand.     Try  them. 

Passavant's  Photographic  Dry  Plate  Factory, 

306  GUERRERO  STREET,  SAN  FRANCISCO,  CAL 

OSCAR    FOSS,    SOLE    AGENT    FOR    THE    PACIFIC    COAST. 

OUR  SPECIALTIES. 

BROMIDE  AMMONIUM,  Chem.  Pure. 

BROMIDE  POTASS.,  Chem.  Pure. 

NITRATE  SILVER,  Chem.  Pure. 

FOR  DRY  PLATES. 

CROSS-SWORD    DRESDEN    ALBUMEN    PAPER, 
Single  and  Extra  Brilliant.    The  Best  in  the  Market. 

ALSO  A  GENERAL  LINE  OP 

PHOTOGRAPHIC   CHEMICALS. 

A  circular,  "  How  to  Save  Waste,"  sent  on  application. 

CHAS.  COOPER  &  CO. 

194  Worth  St,  New  York. 


THE    PHILADELPHIA    PHOTOGRAPHER 


201 


720  (5  gross)  of  these  trimmers  were  sold  to  one  party  in  July. 

figPSSSS.  PHOTOGRAPH  TRIMMERS 


t  ° 
&  •- 


These  invaluable  instruments  are  Mready  used  all  over  the  country,  and 
now,  a  change  of  form  having  permitted  an  immense  reduction  in  price, 
they  must  soon  be  UNIVERSALLY  USED  as  they  afford  a  quicker, 
better,  and  less  expensive  means  of  trimming  photographs  than  any  other. 
The  inventor  assures  photographers  that  his  trimmers  can  be  used  with 
greater  ease  when  held  as  indicated  in  the  drawings  below.  These  trim- 
mers are  now  made  entirely  of  metal,  and  in  quality  are  fully  equal  to  those 
of  the  old  model.  They  answer  for  oval,  round,  arch  top,  and  square 
work. 


Plan  of  holding   the  Straight    Cut  Trimmer 
when  in  use.     PRICE,  50    CENTS. 


Plan  of  holding  the  Revolving  Trimmer  when  in 
use.     PRICE  (with  one  card  guide)  $1.00. 


OVALS. 

2x2£ 

3|x4| 

5x7 

6ix8i- 

2£x3£ 

3|x4| 

5Jx7£ 

6£x8£ 

2**3* 

3£x4| 

5£x7£ 

7x9 

2fx3| 

3§x5£ 

5|x7| 

71x91 

2fx8£ 

4x5f 

6|x7| 

7£x9£ 

2ix4J 

4|x6| 

6x8 

7|x9| 

ROBINSON'S     GUIDES. 

MADE   OF   SHEET-IRON. 
We  have  the  following  Regular  Sizes  always  on  hand  at  io  cents  per  inch  the  longest  way  of 
the  aperture. 

SQUARE  OR  ROUND  CORNERED. 

2Tiffx3|  2^x3|  2£x4£  4  x  5f 

2£x3f  2T^x3J  2£x4f        4£x5£ 

2|x3|  2fx4i:  3|x5i         3|x6 

2T\x3i|  4x6£ 

FOR  STEREOGRAPHS. 

Arch  Tops.  Round  Cornered.  Round. 

3TVx3|,  3x3         3^x31,  3x3  3x3 

The  above  sizes  suit  the  Collins  Card  Mounts,  and  photographers  knowing  that  they  can  be 
always  had  at  the  low  price  of  ten  cents  per  inch,  would  do  well  to  make  their  sizes  accord,  as. 
orders  can  also  be  filled  more  quickly.     Ten  days  are  required  to  make  special  sizes. 

Special  Sizes  made  to  order,  at  15  cents  per  inch,  the  longest  way  of  the  aperture. 

ROBINSON'S  PHOTOGRAPH  TRIMMERS  are  substitutes  for  the  Knife  for  Trimming 

Photographs,  and  do  the  work  much  more  expeditiously  and  elegantly. 

They  Save  Time,  Save  Prints,  and  Save  Money. 

They  do  not  cut,  but  pinch  off  the  waste  paper,  and  leave  the  print  with  a  neatly  beveled  edge 
which  facilitates  adherence  to  the  mount.  Try  one,  and  you  will  discard  the  knife  and  punch  at 
once.     For  ovals  and  rounded  corners  they  are  worth  their  weight  in  gold. 

S'jfSiew  EDWARD  L.  WILSON,  Manufacturer's  Agent,  1125  Chestnut  St.,  Philada. 

4 


202  THE    PHILADELPHIA    PHOTOGEAPHEE. 

REMOVAL  NOTICeT 

"THE  MOUND  CITY" 

PHOTOGRAPHIC  STOCK  HOUSE 

Have  Removed  to  their  New  and  Elegant  Building, 

Cor.  Eighth  and  Locust  Streets, 

OPPOSITE  FEW  CUSTOM  HOUSE  AND  POST  OFFICE. 

Where  they  have  better  facilities,  more  and  pleasanter  rooms,  and  are  better 
prepared  than  ever  before  for  supplying  the  wants  of  their  customers. 

SEND  ALONG  YOUR  ORDERS. 

Address 

H.  A.  HYATT, 

Eighth  and  Locust  Sts.,  St.  Louis,  Mo. 

Send  for  Illustrated    Catalogues  and  Price  List  of   Photographic   Goods  and 
Picture  Frames. 

ALBERT  MOORE  ™  SOLAS  GNLAB6ER, 

THE  LONGEST,  LARGEST,  AND  BEST. 

828  Wood  Street,  Philadelphia. 

PHOTOGRAPHISCHE  M1TTHEILMGEN. 


We  are  now  prepared  to  receive  subscriptions  for  Dr.  Hermann  W.  Vogel's  magazine  bearing 
the  above  title. 

The  MITTHEILUNGEN  is  published  in  German  and  is  issued  semi-monthly  at  $3.00  per  year, 
postage  paid.  To  all  of  our  German  photographers  and  many  others  this  will  be  considered  a 
desirable  opportunity. 

The  Magazine  is  published  at  Berlin.     Subscriptions  received  by 

EDWARD    L.   WILSON, 

1125  Chestnut  Street,  Philadelphia,  Pa. 


THE    PHILADELPHIA    PHOTOGRAPHER. 


203 


WILSON'S  PHOTOGRAPHIC 


<^M» 


-h{^  ¥l^E^¥IgE  @P  EYE^Y  BI^CP  0F  Pfl@TOGWflY.^ 


THE  PHILADELPHIA  PHOTOGRAPHER. 

A  monthly  Magazine,  illustrated  by  pho- 
tographs of  superior  merit.  $5.00  a  year ; 
$2.50  for  six  months. 

Stands  ahead  of  all  its  kindred.  Eighteen  years  of 
success  is  a  sufficient  guarantee  of  its  value  and  use  to 
the  practical.,  working, growing  photographer.  Do  not 
go  without  its  valuable  help. 


WILSON'S  PJSOTOGRAPHICS 

THE   NEWEST   AND    MOST   COMPLETE 

PH0T0GEAPHI0   LESSON-BOOK. 

Covers  Every  Department. 

352  Pages.    Finely  Illustrated.     Only  $4.00. 

By  Edward  L.  Wilson. 


WILSON'S  LANTERN  JOURNEYS. 

By  Edward  L.  "Wilson.     In  Three  Vols. 
Price,  $2.00  per  vol. 

For  the  lantern  exhibitor.  Gives  incidents  and  facts 
in  entertaining  style  of  about  2000  places  and  things, 
including  200  of  the  Centennial  Exhibition. 


THE  PROGRESS  OF  PHOTOGRAPHY 

SINCE   1879. 
By  Dr.  H.  Vogel.     Price,  $3.00. 

Issued  July  15th,  1883.     A  splendid  work. 


BIGELOW'S  ARTISTIC  PHOTOGRAPHY. 

Price  reduced  to  $4.00. 

For  the  lover  of  art.  Beats  his  "  Album  of  Lighting 
and  posing."  Superb!  With  twelve  photographs  and 
instructions. 


THE  FERROTYPER'S  GUIDE. 

Price,  75  cents. 

Cheap  and  complete.     For  the  Ferrotyper,  this  is  the 
only  standard  work.     Seventh  thousand. 


STUDIES  IN  ARTISTIC  PRINTING. 

By  O.  W.  Hearn.     Price,  $3.50. 

Embellished  with  six  fine  cabinet  and  promenade 
portrait  studies. 


PICTORIAL  EFFECT  IN  PHOTOGRAPHY. 

By  H.  P.  Robinson.     For  the  Art  Photog- 
rapher.   Cloth,  $1.50.    Paper  cover,  $1.00. 


THE 
PHOTOGRAPHIC  C0L0RISTS'  GUIDE. 

By  John  L.  Gihon.     Cloth  bound,  $1.50. 

The  newest  and  best  work  on  painting  photographs. 


PHOTOGRAPHIC  MOSAICS,  1885. 

Cloth  hound,  $1.00  ;  paper  cover,  50  cents. 
Back  volumess.  same  price. 

Better  than  any  of  its  predecessors. 


COPIES  MAILED  POST-PAID  ON  RECEIPT  OF  PRICE. 


EDWARD  L.  WILSON, 

Photo.  Publisher.  1125  Chestnut  St.s  Phila. 


204 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


THIS  FAVORITE  ANNUAL  NOW  READY. 

144  PAGES.— 50  CENTS;   CLOTH  COVER,  $1.00—144  PAGES. 

CONTENTS. 


13 


1.  A  Pot  Pouri  of  the  Past. 

2.  Bits  of  Experience.     Geo.  H.  Croughton,  Phila. 

3.  How  Rapid  are   Dry  Plates?      H.   D.   Garrison, 

Chicago. 

4.  The   Photographic   Dude.      J.    Pitcher    Spooner, 

Stockton,  Cal. 

5.  My  Developer.     Wm.  McComb,  Muskegon,  Mich 

6.  A  Hint  for  the  New  Year.     Marcus   H.   Rogers, 

N.  Brimfield,  Mass. 

7.  Energy.     R.  E.  Wood,  St.  Helena,  Cal. 

8.  A  Rapid  Emulsion.     Geo.  Sperry,  Evansville,  Ind. 

9.  Amateur  Photography  a  Teacher.     A.  Bogardus, 

New  York. 

10.  A  Few  Photographic  Hints.     H.  K.  Seybold. 

11.  Photographic  Experiences.     Dr.  G.  F.  H.  Bartlett, 

Buffalo,  N.  Y. 

12.  Something  Not  Necessarily  Dry.    Chas  E.Emery, 
Silver  Cliff,  Col. 

Elevate  Ourselves   First       J.  C.  Moulton,  Fitch- 
burg,  Mass. 
;4.  Photo  -Hash.     J.  A.  Sheriff,  San  Diego,  Cal. 

15.  Weak  or  Strong  Development.    Dr.  H.  Sturenberg. 

16.  How  to  Develop  Landscapes  upon  Dry  Plates,  or 

a   Method  of  Testing   Plates   whose   Time  of 
Exposure  is  Unknown.     Dr   H.  W.  Vogel  . 

17.  How   to    Make    Home-made    Retouching    Lead. 

Chas.  Latham,  Bradford,  Pa. 

18.  Something  About  Blisters.     B.  T.  Rice,  Frankfort, 

Kansas. 
How    to    Number    Negatives.       H.    S.    Stevens, 
Keene,  N.  H. 

20.  A  Few   Things  to   Save   Money.     H.  G.  Parcell, 

Kingsville,  Mo 

21.  An  Amateur's   Views  on  Prices.     W.  R.  Trippe, 

Goshen,  N.  Y. 

22.  How  I   Got   White   Streaks   on   my   Stereoscopic 

Negatives.     J.  J.  Eskill,  Florence,  Wis. 

23.  Practical.     E.  E.  Van  Epps,  Hanover,  Kansas 

24.  How  I  Clean  Varnished  Films  from  Old  Negatives. 

E.  D.  Ritton,  Danbury,  Conn. 

25.  A  Good  Copying  Paper.     Dr.  Stevenberg. 

26.  A    Few    Notes    for    Mosaics.     Will   A.   Triplett, 

Bluffton,  O. 


J9 


27.  The  Lesson  to  Learn.      M.  H.  Albee,  Marlboro, 

Mass. 

28.  To    Know    How.      S.    P.  Tressler,    Fort    Scott, 

Kansas? 

29.  Whiiher  are  we  Drifting?     H.  B.  Hillyer,  Austin, 

Texas. 

30.  The  Best  Dry  Plate  Developer.   Dry  Plate  Maker. 

31.  The    Cincinnati    Convention.     Chas.    T.    Stuart, 

Hartford,  Conn 

32.  Home-made   Dry   Plates.     Jay  Densmore,  Miles, 

Mich. 

33.  Practical,    Pointed,   and   Clear.     John  D.  Miller, 

Elizabethtown,  Pa. 

34.  A  Very   Convenient   Washing  Box      Mrs.  E.  N. 

Lockwood,  Ripon,  Wis 

35.  On  the  Reduction  of  Negatives.     H.  K   Seybold. 

36.  A  Warning.     Henry  Piatt,  Nantucket,  Mass 

37.  Slow  Development — a  Word  to  Beginners.     Alfred 

Ganze. 

38.  Home-made  Plates      Ranald  Douglass,  E.  Gardi- 

ner, Mass 
39    A  Cleaning  Solution  for  Gelatine  Negatives  and 
Positives.     R   G.  Weiss. 

40.  Gleanings  From  my    Last  Year's   Reading.     Old 

Gray-beard. 

41.  An   Automatic  Washing   Tank.     Geo.    W.  Leas, 

Peru,  Ind. 

42.  Smoked  Negatives.    W.  H.  Sherman,  Milwaukee, 

Wis 

43.  Hints  to  Amateurs.  Xanthus  Smith,  Philada.,  Pa 

44.  A  Workman's  Idea.     H.  S.  Keller,  Utica,  N.  Y. 

45.  About  Prices.     John  C    Patrick,  Batavia,  N.  Y. 

46.  Exposure      Ellerslie  Wallace,  M.D.,  Philada. 

47.  On  the  Delectable  Dry.     Wm.  H.  Rau,  Philada. 

48.  Photography  in  its  Relation  to  Art.  John  Bartlett, 

Philada. 

49.  The  Attractive  Properties  of  a  Photograph.     C.  M. 

French,  Garrettsville,  O. 

50.  A  New   Method   of  Developing   Dry  Plates.     D. 

Bachrach,  Jr.,  Balto.  Md. 

51.  Our  Way   is   our   Hobby.     Miss  H.  H.  Flanagin, 

Woodstown,  N.  J. 

52.  "Nothing  to  Say."     J.  H.  Hallenbeck,  N.  Y. 


EDWARD  L.  WILSON,  Photo.  Publisher,  No.  1125  Chestnut  Street,  Philada. 

EOB  SALE  BY  ALL  DEALEBS. 


THE  PHILADELPHIA  PHOTOGRAPHER. 


205 


SCOVILL'S 

NEGATIVE  WASHING  BOXES. 


GUARANTEED  NOT  TO  RUST. 

It  is  necessary  at  a  certain  stage  of  development  to  remove  from  photographic  nega- 
tives all  traces  of  Hyposulphite  of  Soda,  and  it  is  not  generally  convenient  to  place  them 
where  water  will  flow  over  their  surface  a  sufficient  length  of  time  to  accomplish  this  effec- 
tually, without  injury  to  the  sensitive  film.  To  watch  the  plate  is  to  waste  time.  The 
flow  over  it  should  be  with  gentle  force.  This  can  best  be  regulated,  and  a  thorough 
cleansing  from  Hyposulphite  of  Soda  of  every  portion  of  the  negative  he  assured,  by  the 
employment  of  one  of  the  Negative  Washing  Boxes  above  pictured.  Plates  are  simply 
slid  into  the  grooves,  a  guarantee  that  the  film  will  not  be  disturbed  or  marred ;  a  bit  of 
hose  is  slipped  over  a  tap,  and  then  at  the  other  end  over  the  spout  on  the  box.  If  need 
be,  another  section  of  rubber  tubing  is  used  to  carry  off  the  waste  water  to  an  outlet. 
After  this  simple  preparation  the  Washing  Box  is  in  readiness  for  service. 


1 

PRICE  LIS 

T1 

<-^ts         J 

1           q)^-> 

No.  1, 

for  S\  x    4J  Plates,  . 

.    $1   20 

"   2, 

"4x5 

" 

1  25 

"   3, 

"    4^x    5i 

it 

1  30 

"  4, 

"    4£x    6i 

1! 

1  35 

"  5, 

"5x7 

I! 

1  40 

"  6, 

"5x8 

!( 

1  50 

"  7, 

"    6J  x    8J 

a 

1  75 

"   8, 

"    8    xlO 

ti 

2  25 

LARGER  SIZES  MADE  TC 

>  ORDER. 

Painted  Negative  Washing  Boxes,  4  O  cts.  additional  for  each  size. 

Oloth  Rubber  Hose  Supplied  for  the  above  Boxes  at  28  cts,  Per  Foot. 
SCOVILL  MANUFACTURING  CO. 


206 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


A  SPLENDID  THING  FOR  PHOTOGRAPHERS. 

PROTECTING    CASE, 

With  Glass  Bottle  and  Graduate  Tumbler,  for  Photo.  Developer 
and  other  Solutions. 

Those  who  have  worked  in  the 
field  have  wished  very  often  for  some 
safe  method  of  carrying  with  them 
their  developer  and  other  chemicals  in 
solution.  A  most  useful  article  is  in 
the  market  which  answers  the  purpose. 
We  allude  to  the  patent  metallic  pro- 
tecting cases  invented  for  similar  pur- 
poses. The  bottles  may  be  of  ordinary 
shape  so  they  fit  the  metal  case,  which 
latter  is  drawn  from  solid  metal,  with 
a  locking  ring  on  each  case  to  afford 
perfect  protection  for  the  bottles  con- 
taining the  liquids  which  are  trusted 
to  their  care.  They  are  made  of  dif- 
ferent sizes  :  bottles  of  one,  two,  four, 
and  eight  ounce  mixtures,  and  each 
case  is  made  adjustable  to  bottles  of 
different  lengths.  They  are  made  veiy 
light,  and  the  corrugation  makes  them 
so  strong  as  to  resist  crushing.  They 
can  be  packed  in  any  position.  The 
metal  is  drawn  of  even  thickness 
throughout,  by  machinery  which  has 
the  weight  of  thirty  thousand  pounds. 

The  first  figure  represents  the  case 
closed,  and  the  second  open  with  the 
bottle  therein.  The  use  of  this  arrange- 
ment assures  the  photographer  that  he 
has  a  safely  kept  stock  on  hand  of  any 
needful  solution. 

PRICE   LIST. *° — ^ 

*Irt     1  Diameter,  %ys  in.    Length,  3}^  in.    Weight,  4^  oz.    Furnished  with  1  oi. 

llU.    1.     bottle,  each,     .  .         . $050 


No.  3  A. 
No.  4  A. 

Wrt     13    A  Diameter,  2%   in.    Length,  6  in.    Weight,  17  ox.    Furnished  with 

11 V.   1U   A.     8  oz.  bottle,  with  tumbler,  making  y2  pint  flask,  each, 


Diameter,  3  in.    Length,  5%   in.    Weight,  7^   oz.    Furnished  with 
4  oz.  bottle,  -with  tumbler,  making  %  pint  flask,  each, 0  85 

Diameter,  3^    in.     Length,   7  in.     Weight,  14   oz.    Furnished  with 
8  oz.  bottle,  with  tumbler,  making  %  pint  flask,  each,.  .      1  10 


1  30 


J^TRY    THEM.      NO    MORE    LEAK   OR    BREAK 

SCOYILL  MANUFACTURING  CO., 


W.  Irving  Adams,  Agent. 


423  Broome  Street,  New  York. 


THE    PHILADELPHIA    PHOTOGEAPHEE.  207 

No.  54  East  Tenth  Street,  New  York. 

SOLE  IMPORTER  OP 

C.  BOHMKE  &  CO.'S  IMPROVED  APLANATS. 

THE  BEST  LENSES  FOB  PORTRAIT,  RAPID  LANDSCAPES 
AND  GROUPS  YET  INTRODUCED. 


Mr.  Bohmke,  who  has  been  superintending  foreman  for  Voigtlander  &  Son  for  25 
years,  has  lately  brought  out  the  above  designated  instrument,  which  is  in  every 
respect  equal,  if  not  superior,  to  the  "Euryscope,"  combining  a  large  field,  perfect 
definition  and  brilliant  illumination  in  the  highest  possible  degree. 

j^MtSS  V.  MAGBE  &  0 


MANUFACTURERS  OF  PURE 


Photographic  Chemicals, 

jio.  622  Pace  Street,  Philadelphia. 

g@P"  The  Standard  Quality  and  Purity  of  our  Chemicals  make,  them  the  most 
desirable  and  reliable  for  photographic  use. 


STOCKDEALERS   ONLY  SUPPLIED.«==§^ 


PPFIflPPS  of  G0W>  and  Sipvpp  WASTp. 

Waste  sent  through  Stockdealers  will  receive  prompt  aitention."^^ 


208  THE    PHILADELPHIA    PHOTOGRAPHER. 


A    GREAT  SUCCESS! 

THE 

NEW  DRESDEN  ALBUMEN 


THREE  CROWN  PAPER. 


^SdeMaJ^ 


^JadeMj^ 


For  Sale  by  all  Photo.  Stockdealers. 


SCOVILL  MANUFACTURING  CO., 

NEW  YORK. 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


209 


On  and  after  March  1st,  I  will  make  the  following  Reduction : 


4  x5 

4X  x5^ 
4Xx6K 

5  x7 


.       $    45 

5x8 

.      $1  25 

14x17 

65 

6^x8^       . 

1  65 

16  x  20 

75 

8      x  lO 

2  40 

17x20 

90 

10  x  12 

3  80 

18x22 

1    10 

11   x  14 

5  00 

20  x  24 

#9  00 

12  50 

13  OO 
15  50 
18  50 


CRAMER'S  LIGHTNING  PLATES. 


TO  3IEET  THE  DEMAND  FOR 

An  Extremely  Rapid  Plate 

I  am  now  making  the  above  new  brand  (blue  label),  which  is  about  twice  as  rapid 
as  my  "Extra  Eapid"  and  nearly 

TWENTY  TIMES  MORE  RAPID  THAN  COLLODION. 


THIS  NEW  PLATE  COMBINES 

EXTREME  RAPIDITY, 

FINE  CHEMICAL  EFFECT, 

PERFECT  CLEARNESS, 

GOOD  INTENSITY, 

EASY  TO  DEVELOP, 


And    CANNOT    BE    EXCELLED. 


For  all  cases  where  Extraordinary  Eapidity  is  desirable  and  for  Large 
Work  these  "Lightning  Plates"  will,  upon  trial,  prove  their  superiority  over 
all  others. 

My  regular  brand,  the  "Extra  Eapid"  (yellow  label),  which  is  so  well 
known  aud  sufficiently  sensitive  for  general  use,  will  be  kept  up  to  its  usual  high 
standard. 

BOTH  BRANDS  SAME  PRICE. 

WILL    BE    FOR    SALE    BY    ALL    DEALERS. 


DRY-PLATE  WORKS,  ST.  LOUIS,  MO. 


210  THE    PHILADELPHIA    PHOTOGEAPHEE. 


GIHON'S 

Cut-Outs 

An  Entirely  New  Variety  for 

Printing  Medallion  Pictures, 


Are  the  very  best  that  are  made,  and  are  now  without  a  rival  in  the  market.  They  are  clean 
out,  most  desirable  shapes  and  sizes,  and  made  of  non-actinic  paper,  manufactured  specially  for  the 
purpose.  Each  package  contains  30  Cut-Outs,  or  Masks,  with  corresponding  Insides,  assorted  for 
five  differently  sized  ovals  and  one  arch-top. 

Price,  $1.00  per  Package.    Sent  by  mail  on  receipt  of  price. 

Parties  wishing  special  sizes,  or  large  lots  of  a  few  sizes,  may  have  them  cut  to  order  promptly, 
by  addressing  the  manufacturer.      No  lot  costing  less  than  $1.00  made  at  a  time. 
^£p"No  printer  should  attempt  to  make  Medallion  Pictures  without  them. 

They  Have  no  Equal  for  Quality. 

Beware  of  spurious  imitations  made  of  common  paper,  full  of  holes,  badly  cut,  and  odd  shapes  and 
sizes.  Ask  your  Stock-dealer  for  GIHON'S  CUT-OUTS,  and  see  that  they  are  in  his  envelope,  with 
instruction  circular  included.  The  recent  packages  are  composed  of  an  entirely  new  variety  and  ot  a 
new  paper.     TRY  THEM. 

Promenade  Size  now  Ready.        Sold  Separately  at  50  cents  per  Dozen. 


GIHON'S  OPAQUE 

Is  designed  for  Completely  obscuring  the  Imperfect  Backgrounds  of  Copies,  Ketouching  Nega- 
tives, Faulty  Skies  in  Landscapes,  Coating  the  Inside  of  Lenses  or  Camera  Boxes, 
Backing  Solar  Negatives,  Covering  Vignetting  Boards, 
And  for  Answering  all  the  Requirements  of  the  Intelligent  Photographer  in  the  Production 

of  Artistic  Kesults  in  Printing. 

Wherever  you  want  to  keep  out  Light,  use  Opaque. 

IT  IS  APPLIED  WITH  A  BRUSH,  DRIES  QUICKLY  A3VD  STICKS. 


CUT-OUTS  (thirty),  $1.00.         OPAQUE,  50  Cents. 

FOR  SALE  BY  ALL  DEALERS. 


Address  all  orders  to 

SC0VILL  MANUFACTURING  CO.,  New  York. 


THE    PHILADELPHIA    PHOTOGRAPHER.  211 

^    DRESD^ 

EXTRA  l^mn  BRILLIANT 

4^6(iMENPA'P^ 

Ever  Offered  to  Photographers. 

WHITE,  PINK,  PENSE. 


FREE  FROM  BLISTERS  AND  IMPERFECTIONS. 


A  NEW  PAPER.    NOW  EEADY. 

EAGLE  SATIN  FINISH, 

IN  PENSE  AND  PEARL. 

Although  my  importations  of  paper  have  had  a  most  satisfactory  sale,  and  the  old  favorite 
brands  will  be  continued  in  the  market  of  the  same  quality,  I  have  a  New  Brand,  which  I  offer 
for  public  favor  which  I  believe  to  be  SOMETHING  SUPERIOR. 

^$36.00  A  REAM.-®*       «^A  REAM  $36.00.^ 

FOB  SALE  BY  ALL  DEALEBS. 

IMPORTED  BY 

G.  GENNERT, 

54  B.  TENTH  ST.,  NEW  YORK 


FOR    SALE    BY    ALL   DEALERS. 


212  THE    PHILADELPHIA    PHOTOGKAPHEE. 

A.  M.  Collins,  Son  &  Co. 

MANUFACTURE  ALL    KLJYDS   OF 

CARDS  AND   CARDBOARDS 

FOR 

PhotographerR 


AND 


MATS.  MOUNTS.  AND  ENVELOPES 


J 

FOR 


FERROTYPES. 


OFFICE  AND  WAREHOUSE, 

No.  527  ARCH  STREET, 

PHILADELPHIA. 


Price  Lists  may  be  had  by  intending  purchasers  on  application 

to  us,  or  to  all  Photographic  Merchants,  through  whom 

your  favors  are  respectfully  solicited. 


THE    PHILADELPHIA    PHOTOGBAPHER. 


213 


TR 


THEM! 


WAYMOUTH'S  VIGNETTE  PAPERS. 

No.  15yi, 

THE 

Ormsljy  Patten, 


PEAR  SHAPE 

Now  Ready, 

$1.00  PER  DOZ. 


They  are  not  clumsy  ;  do  not 
break;  are  always  ready ;  cost 
but  little,  and  are  easy  of  appli- 
cation to  any  negative.  They 
need  but  one  adjustment  to  print 
any  quantity.  They  entirely 
do  away  with  all  the  old  and 
troublesome  methods,  either 
wood,  metal,  or  cotton. 


19  Sizes 


Now  Made 

PEAR  SHAPE. 

Prices  Below. 


They  are  printed  in  black 
for  ordinary  negatives,  yellow 
bronze  for  thin  negatives,  and 
red  bronze  for  still  weaker  ones. 
Directions  for  use  acco7npany 
each  parcel. 


SEE  WHAT  THOSE  WHO  USE  THEM  SAY. 

The  Vignette  Papers  are  just  the  thing.  They  are  a  great  improvement,  and  will  print 
in  little  more  than  half  the  time  required  for  others.  The  results  are  everything  that  can 
be  desired,  as  you  can  see  by  samples  inclosed.  E.  D.  OKMSBY,  San  Francisco. 

PROM  PROFESSIONAL  AND  AMATEUR  PHOTOGRAPHERS. 

"  First-class." — "  The  sample  sent  answers  perfectly." — "  I  consider  them  first-rate  articles." — "  They  answer  the 
purpose  admirably." — "  They  are  the  best  vignettes  I  have  ever  had,  and  as  you  can  print  in  1  nil  sunlight,  they  are  a 
great  saving  of  time." — "They  could  not  be  better,  oblige  me  with  another  packet." — "  I  find  them  excellent,  giving 
much  softer  pictures  than  the  old  way." — "I  have  tried  one  of  the  Vignette  Papers,  anJ  like  it  much;  send  me 
packets  two  and  three." — "  I  am  much  pleased  with  them,  and  shall  thank  you  to  send  meanotner  packet." — "I  did 
not  need  any  copies  of  testimonials,  having  well  known  by  experience  that  your  Vignette  Papers  were  superior  to 
anything  I  have  ever  used." — "I  found  those  you  sent  before  excellent." — "Vignetting  Papers  received  and  tested; 
can't  be  beat.  I  use  by  cutting  an  opening  in  a  piece  of  card-board  and  tacking  to  the  printing-frame,  when  I  am  ready 
for  printing  vignettes  in  the  very  best  manner." — "  Waymouth  Vignette  Papers  I  have  tried,  and  they  are  just  what  I 
have  been  wanting  for  years." 

THOSE  WHO  SELL  THEM! 


ALL  STOCK-DEALERS 


INCREASE 
THEIE 


ORDERS  LARGELY 


EVERY 
MONTH 


Better  than  any  patent  machine— trouble,  and  sell  better  every  month. 

PRICES: 

In  parcels  containing  one  dozen,  assorted,  from  Nos.  1  to  5 $0  50 

In  parcels  containing  one  of  each  size,  Nos.  1  to  15,  assorted  colors 1  00 

Assorted  sizes  and  colors,  by  number,  per  package  of  15 1  00 

Nos.  1,  2,  3,  4,  and  5,  assorted  sizes  and  colors,  for  Cartes,  by  number,  per  doz 50 

»     6,  7,  11,  12,  and  13,     »          »                  »       Large  Cartes  and  Victorias  by  number,  per  doz 75 

»     8,  9,  10,  14,  15,  and  15%,  assorted  sizes  and  colors,  Cabinets  and  Whole-size,  by  number,  per  doz 1  00 

»     16,17,18,                                »                 „             »        Half           »               »                     »               »       125 

When  ordering,  state  the  number  and  color  you  want. 

EDWARD  L.  WILSON,  Manufacturer,  1125  Chestnut  St.,  Philad'a. 

FOR  SALE  BY  ALL  DEALERS. 

No.  18,  PEAR  SHAPE,  LAST  INTRODUCED,  $1.25. 


214  THE    PHILADELPHIA    PHOTOGRAPHER. 


HANCE'S 

—SPECIAL- 


SPECIALTIES. 

I  Anderson's  Portrait  Collodion. 
This  is  especially  a  Winter  Collodion,  and  guaranteed  to  work  with  the  loveliest  har- 
mony, and  the  most  exquisite  softness,  and  freedom  from  all  the  winter  troubles 
which  Photographic  Collodion  is  heir  to.     S^°  None  genuine  unless  the  signature  of  Elbert 
Anderson,  the  great  dark-room  operator,  author,  etc.,  is  pasted  over  tfle  cork  of  the  bottle. 

II 


Ground  Glass  Substitute. 


Is  an  indispensable  article  in  the  photographic  gallery.     There  are  so  many  uses 
to  which  it  can  be  applied  that  a  photographer  having  once  given  it  a  trial,  will 

never  be  without  it,  as  there  is  nothing  known  that  will  take  its  place. 

The  substitute  is  in  the  form  of  a  varnish,  is  flowed  and  dried  the  same  as  varnish,  but 

dries  with  a  granulated  or  ground-glass  surface. 


For  "Vignette  Glasses. 
"    a  Retouching  "Varnish. 
'*    Softening  Strong  Negatives. 
"    the  Celehrated  Berlin  Process. 


For  Ground  Glass  for  Cameras. 
"    Glazing  Sky  and  Side  Lights. 
"     Obscuring  Studio  and  Office  Doors. 
"    Printing  Weak  Negatives. 

All  imitators  have  given  it  up.     They  can't  make  it.     GTYE  IT  A  TKIAL. 

PRICE,  50  CENTS  PER  BOTTLE. 


mHance's  Delicate  Cream  Gun 
Cotton  Is  the  King  Cotton,  and  has  no  peer. 

Prepared  with  particular  care,  warranted  free  from  acid,  and  very  soluble.  It  has  made 
its  way  steadily  and  surely  into  most  of  the  principal  galleries  in  the  country,  where  parties 
prefer  to  make  their  own  collodion,  and  its  superior  qualities  are  shown  in  the  medals 
awarded  at  the  Centennial,  Vienna,  and  Paris  Exhibitions  for  photographs  made  with  col- 
lodion in  which  it  was  used. 

It  is  especially  adapted  to  the  Rembrandt  style,  and  light  drapery.  Its  sensitiveness 
renders  it  particularly  adapted  for  children  or  any  work  that  requires  short  exposure,  though 
admirable  as  well  for  all  work. 

PRICE,  80  CENTS  PER  OUNCE. 

Also,  TRASK'S  FERROTYPE  \  fl  nTTflHIOW 
HANCE'S  DOUBLE  IODIZED  jUULLUUlUll 

PRICE,  $1.50  PER  POUND. 

FOE  SALE  BY  ALL  STOCK-DEALEES.  NO  EETAIL  OEDEES  PILLED.  OEDEE  OF  TOUE  DEALEE 

SCOVILL  MFG.  CO.,  TRADE  AGENTS,  NEW  YORK. 


THE   PHILADELPHIA  PHOTOGRAPHER. 


215 


OPTICAL  LANTERNS 

AND 

LANTERN  SLIDES. 


Nearly  twenty  years'  experience  as  a  Dealer,  Manufacturer,  and  User  of  these   goods, 
enables  me  to  assure  satisfaction  to  every  purchaser. 


^EVERYTHING   SUPPLIED.^ 

LECTURE  BOOKS  OK 


Send  for  New  Catalogue.    (15  Cents  in  Stamps.) 

A  surerb  list  of  Slides  from  recent  personally  made 

Negatives  of  EGYPT,  ARABIA,  ARABIA  PETRJEA, 
SYRIA,  AND  PALESTINE. 

JE®"*  CATALOGUES  READY.     THE  MOST  UNIQUE  COLLECTION  EVER  OFFERED. 


READ  WILSONS  LANTERN  JOURNEYS. 

THREE  VOLS.    VOL.  Ill,  "THE  ORIENT,"  JUST  ISSUED. 

By  mail,  $2.00  each,  Post-paid. 

EJDWABD  L.   WILSON,  No.  1125  Chestnut  Street,  Philadelphia. 


216 


THE    PHILADELPHIA    PHOTOGKAPHEP. 


JOHN  G.  HOOD. 


ESTABLISHED    1865. 


WM.  D.  H.  WILSON. 


VJ^S 


0N,   HOOD   & 

825  Arch  Street,  C>  Q 

PHILADELPHIA, 


SOLE  AGENTS  IN  THE  UNITED  STATES  FOR  THE 


Centennial,  1876. 


Centennial,  1876. 


Ross'  Portrait  and  View  Lenses. 


WE  HAVE 

NOW 
IN  STOCK 


Portrait  Lenses,  from  1-4  to  8  x  10. 
Cabinet  Lenses,  Nos.  3  and  3. 
Card  Lenses,  Nos.  1,  3,  and  3. 
Triplets,  Nos.  1,  3,  3,  4,  5,  6,  and  7. 
I  Symmetrical.    Rapid  Symmetricals. 


Instantaneous  Doublets,  all  sizes. 
Medium  Angle  Doublets,  all  sizes. 
Large  Angle  Doublets,  all  sizes. 
Stereographic  Lenses,  all  sizes. 
New  Universal  Lens. 


Numerous  testimonials  pronounce  them  to  be  the  best  as  well  as  the  cheapest  Foreign  Lenses  ever 
offered  to  the  American  Photographer.    We  will  mail  price  list  on  application,  and  promptly  fill  all  orders. 


Steinheil's  Sons' 


-»NEW*<- 
APLANATIO 


Lenses. 


We  now  have  a  full  stock  of  these  Celebrated  Lenses,  at  the  following  prices  : 


No.  1—  1-4  size, 3%  inch  focus, $25  00 

»    3—  1-3      »       5%       »  »        30  00 

»    3—4-4      »       7  »  »        45  00 


No. 


4—8x10  size,...  1.0#  inch  focus,. ..$60  00 

5—10x13      »       ...13%       »  »     70  00 

6—13x16      »      ...16%;       »  »     ....110  00 

Nos.  1  and  2  are  in  matched  pairs  for  stereoscopic  work. 
We  feel  sure  that  at  least  one  of  these  lenses  is  needful  for  the  successful  prosecution  of  your  busi- 
ness, and  so  solicit  your  orders.     Always  in  stock,  to  suit  above  Lenses,  CAMERA  BOXES  made  by 
AMERICAN  OPTICAL  CO.,  SEMMENDINGER,  ANTHONY,  BLAIR,  etc. 

WE  KEEP  IN  STOCK  PULL  ASSORTMENT  OP 

AMATEUR  PHOTO.  OUTFITS 

DRY    PLATES    OF   ALL    MAKES. 

N.  P.  A.  EAGLE  and  S.  &  M.  PAPER,  PER  REAM,  $30.00. 

Any  article  needed  we  can  supply,  as 
WE  MANUFACTURE,  IMPORT,  AND  DEAL  IN  ALL  KINDS  OP 

Photo.  Goods,  Frames,  Stereoscopes  and  Views, 

At  prices  as  low  as  are  consistent  with  the  quality  of  goods  furnished.  We  are  indebted  to  our 
customers  for  the  patronage  during  the  past  Nineteen  Years,  and  our  efforts  shall  be  to  merit  a  con- 
tinuance of  it. 

Illustrated  Price  Lists  supplied  free.    Correspondence  solicited. 


OF  AGE! 


Twenty-one   years   of  service   as   a    Photographic    Magazine 
having   been   fully    completed   hy    The    Philadelphia 
JPhotog rapher,  it  can  now  fully  claim  to  he 
"OF  AGE." 

It  was  born  when  our  art  was  itself  only  a  stripling,  and  having  grown  up  with  it  and  lived  for 
it,  now  comes  with  confidence  to  the  craft  for  support  during  its  Twenty-second  year. 

Under  the  same  editorial  care  which  gave  it  birth  and  name,  it  will  continue  its  good  work  in 
the  interests  of  the  art  of  Photography,  with  brighter  prospects  of  usefulness  and  success  than  ever 
before.  In  looking  back  upon  its  past  record,  the  editor  and  publisher  thinks  he  has  won  the 
right  to  claim 

TWELVE  SEASONS  WHY  "THE  PHILADELPHIA  PHOTOGRAPHER"  SHOULD  HAVE  THE 
PATRONAGE  OF  ALL  LOVERS  OF  OUR  ART,  AS  FOLLOWS : 

I.  The  photographic  studies  issued  with  each  number  are  a  great  help  to  workers  under  the 
skylight,  and  well  worth  the  price  asked  for  the  whole  magazine.  Over  forty  of  these  studies 
were  supplied  last  year,  and  some  fine  gems  are  preparing  for  1885. 

2  The  editor  having  been  connected  with  the  art  for  over  one-half  of  its  existence,  is  wholly  in 
sympathy  with  the  working  craft,  and  well-knows  their  wants  to  supply  them. 

3.  Its  ability  to  anticipate  the  wants  of  the  craft  is  secured  by  its  connection  with  the  practical 
men  of  our  art  all  over  the  world;  and  the  same  long  connection  creates  a  ready  means  of 
obtaining  promptly  all  that  is  needed. 

4.  Its  enterprise  in  taking  up  and  making  popular  and  easy  all  good  processes  and  measures  is 
proverbial. 

5.  Its  war  upon  low  prices,  and  its  endeavors  to  lift  up  the  fraternity  to  better  ones,  as  well  as 
its  usefulness  in  winning  the  press  and  the  public  to  a  better  appreciation  of  our  art,  are  well  known 
to  all. 

6.  It  has  always  been  quick  in  discovering  and  exposing  frauds,  humbugs,  and  attempts  to  injure 
its  patrons.     It  is  operated  for  the  good  of  its  patrons. 

7.  Its  long  standing  as  an  authority  in  our  art,  has  won  it  connection  with  scientists  and  scientific 
bodies  all  over  the  world,  who  send  their  new  things  to  its  editor  first,  over  all  of  its  class. 

8.  Its  circulation  is  International.  There  is  not  a  land  where  English  is  read  that  it  does  not  go 
to.     It  also  circulates  in  every  State  in  the  Union,  about  as  follows : 

New  England,        .        .    21.5  per  cent.  Western  States,      .  34.4:  per  cent. 

Middle  States,  .        .    24.1         "  Canada,      ....       8.3  " 

Southern  States,     .        .    16.4  "  Foreign,    ....       5.3  " 

Thus  giving  the  best  means  of  advertising,  and  thus  securing  the  best  circulation  among  the 
active  votaries  of  the  art. 

9.  Its  form  has  been  adopted  by  all  the  other  American  magazines  of  our  art  (all  its  junior), 
but  its  quality  and  artistic  appearance  have  not  been  reached  by  any. 

10.  Its  standing  as  the  leading  magazine  of  its  kind,  has  been  maintained  ever  since  it  began. 
"  It  is  the  best  of  its  class,"  say  press  and  patrons. 

II.  Its  success  has  been  a  success,  though  its  price  is  higher  than  that  of  any  of  its  con- 
temporaries. The  best  artists  often  write,  "  I  don't  care  how  many  other  journals  there  are,  or 
how  low-priced,  I  must  have  The  Philadelphia  Photographer." 

12.  It  is  the  cheapest  of  all,  because  "  the  best  is  always  the  cheapest."  You  cannot,  therefore, 
afford  to  do  without  it. 

SUBSCRIBE  NOW.     $5.00  a  year ;  $250  for  six  month;  50  cts.  a  copy. 

It  has  been  our  custom  for  many  years,  to  give  old  subscribers  a  premium  for  new  subscriptions 
sent  in  addition  to  their  jown.  We  continue  this  plan  by  offering  one  dollar's  worth  of  our 
publications  for  each  such  additional  subscriber  for  a  year.  Please  do  all  you  can  to  increase  our 
usefulness  in  behalf  of  the  glorious  art  of  photography.     It  is  to  your  interest  to  do  so. 

For  1885  we  have  some  useful  schemes  and  novelties  under  way,  which  will  be  presented 
from  time  to  time.  Our  old  subscribers  are  asked  to  renew  now  for  1885,  so  that  the 
January  issue  will  reach  promptly.     IT  "WILL  BE  A  GEM. 

Contributions  from  both  Actives  and  Amateurs  are  invited.  Proceedings  of  Societies  are  very 
useful  and  should  be  sent  promptly. 

EDWARD  L.  WILSON,  Editor,  Publisher,  and  Proprietor,  1125  Chestnut  St.,  Phila. 


NOTICE   TO    SUBSCRIBERS. 


In  remitting  by  mail,  a  post-office  or- 
der, or  draft,  payable  to  the  order  ot 
Edward  L.  Wilson,  is  preferable  to 
bank-notes.  Postage  stamps  of  the 
denomination  of  two  and  five  cents 
each  will  be  taken.  Clearly  give  your 
Post-Office,  County,  and  State. 

Foreign  subscriptions  must  be  ac- 
companied by  the  postage  in  addi- 
tion. 


ADVERTISING  sheets  are  bound 
with  each  number  of  the  Magazine. 
Advertisements  are  inserted  at  the  fol- 
lowing rates : 

One         Six         One 
Month.  Months.   Year. 

One  Page #20.00  #110.00  #200.00 

Half    "    12.00       66.00     120.00 

Quarter  Page...  7.00  38.50  70.00 
Eighth  "  ...  4.00  22.00  40.00 
Cards,    6  lines 

orless 2.00       11.00       20.00 


The  attention  of  advertisers,  and 
those  having  galleries,  etc.,  for  sale 
is  called  to  our  Specialties  pages 
Terms,  $2  for  six  lines,  and  25  cents  for 
each  additional  line,  seven  words  to  a 
line,  always  in  advance.  Duplicate 
insertions,  50  cents  less,  each. 

We  have  added  an  Exchange  Column 
to  our  Magazine,  wherein  photogra- 
phers having  articles  for  exchange  can 
insert  advertisements  at  the  low  price 
of  15  cents  per  line,  or  fraction  of  a 
line,  of  seven  words  to  a  line. 

Operators  desiring  situations,  mo 
charge. 


THE  "CHAMPION"  CAMERA. 

REVERSIBLE  BACK. 


Camera  with  11  x  14  Extension  Attached. 


Tn  constructiug  this  Camera  we  have  endeavored  to  concentrate  all  the  desirable  points  which 
experience,  skill,  and  care  can  produce.  With  all  due  modesty  we  believe  we  can  say  it  has  no 
equal  in  the  world.  Fitted  with  English  Holders  unless  otherwise  specified  Made  only  in  the 
following  sizes,  except  to  order: 

6%  x  S%,  \  Single  Swing.  Double  Swing. 

5x8,     / $42  00    $47  00 

8x10,  45  00    50  00 

IMPROVED  EXTENSION. 

Size.  Single  Swing.  Double  Swing. 

11  x  14,  to  go  on  6%  x  8%  Camera,  $20  00     $23  00 

11x14,         »  8x10        >»         20  00    23  00 

14x17,         »  8x10        »         25  00    30  00 

Price  of  either  Camera  or  Extension  includes  I  Double  Plate-Holder  and  Carrying  Case 
with  each. 

The  BLAIR  TOUROGRAPH  AND  DRY-PLATE  CO.,  Boston,  Mass. 

WAREROOMS,  NEW  YORK  AND  CINCINNATI,  OHIO. 

See  page  146. 


22d  YEAK. 


XTJUTST,  1885. 


Number  259. 


50  Cents. 


THE 


PHILADELPHIA 


IP  fortojjrafte. 


AN  ILLUSTRATED  MONTHLY  JOURNAL, 


DEVOTED  TO  PHOTOGRAPHY. 


EDITED  BY  EDWARD  L.  WILSON. 


PHILADELPHIA:   EDWARD  L.  WILSON 

PUBLISHER  AND   PROPRIETOR, 

No.  1 1 25  Chestnut  Street. 

SUBSCRIPTIONS  RECEIVED  BY  ALL  NEWS  AND  STOCKDEALERS. 
Five  Dollars  per  Annum,  in  Advance. 


Entered  at  the  Post-Office  at  Philadelphia  as  second-class  matter. 


WILSON'S  PHOTOGRAPHICS,  Fourth  Thousand,  $4.00.  Vrpelseenndt1d 


SUMMARY    OF    CONTENTS. 


•-•ag  to  the  P.  A.  of  A 193 

"Beauties  of  Dry-Plate  Working. 

•  y,  Jr., 196 

i  Carbon  Printing,  .  200 
Rive*                                              "mith,      .     .     .202 

Modern  L..                                                   ...  203 

German  Corresp                                                ~*:l,  204 

Society  Gossip,     .     .  "^6 

Electric  Li. 


page 
Chrome  Alum  in  Silver  Solution  for  Albumen 

Paper.     By  Wm.  Bell .     .215 

Our  Picture, 215 

Vicissitudes  of  Gelatine.     By  Ranald  Doug- 
lass,      216 

Photography  at  the  New  Orleans  Exhibition,  .  216 

Gleanings, •     .     •     .  221 

Editor's  Table, 222 

t,,  New  Orleans.     E.  L.  Wilson. 


ADVERTISE. 


ALLEN  BROTHERS.     The  Suter  Lens. 
ANTHONY  &  CO.,  E.  &  H.  T.     The  New  N.  P.  A. 

Pense  Extra  Brilliant  Dresden  Albumen  Paper. 
BIGELOW'S  ARTISTIC  PHOTOGRAPHY. 
CARBUTT,  J.     Gelatine  Dry  Plates  and  Improved 

Dry  Plate  Lantern. 
COLLINS,  SON  &  CO.,  A.  M.     Photograph  Cards. 
COOPER,  CHAS.  &  CO.     Union  Negative  Cotton. 
CRAMER,  G.      Lightning  Plates. , 
DEALERS'  DIRECTORY. 
DOUGLASS,  THOMPSON  &  CO.     Supplies  for  the 

Art-Science  of  Photography. 
FRENCH  &  CO.,  BENJ.     Voigtlander  &  Son  and 

Darlot  Lenses.     The  Wonderful  Euryscope. 
GENNERT,  G.     Albumen  Paper.     C.  Bb'hmke  & 

Co.'s  Improved  Aplanats. 
HANCE'S  SPECIALTIES. 
HODGE  &  HUSTON.     The  Solar  Printers. 
HYATT,  H.  A.     New  Brand  of  Dry  Plates. 
INGLIS,  JAMES.     "Insoluble"  Dry  Plates. 
KEEVIL'S   PATENT    NEWTONIAN    DUPLEX 

LANTERN. 
MAGEE  &  CO.,  JAS.  F.    Photographic  Chemicals. 


MOOR 

MOSAICb, 

OPTICAL  LAISx. 

PASSAV ANT'S  DR1    1 

PHOTOGRAPHIC  COLORlo- 

PHOTOGRAPHIC  PROGRESS  Six, 

PHOTOGRAPHIC  PUBLICATIONS. 

PHOTOGRAPHISCHE  MITTHEILUNGEN. 

PICTORIAL  EFFECT  IN  PHOTOGRAPHY. 

ROBINSON'S  NE^"  MODEL  PHOTO.  TRIMMER. 

SCOFIELD'S  UNIQUE  CAMERA. 

SCOVILL  MANUFACTURING  CO.  New  Dres- 
den Albumen  Three  Crown  Paper.  Negative 
Washing  Boxes.     Gihon's  Cut-Outs. 

THE  BLAIR  TOUROGRAPH  AND  DRY  PLATE 
CO. 

THE  HELIOTYPE  PRINTING  CO. 

WAYMOUTH'S  VIGNETTE  PAPERS. 

WILSON,  HOOD  &  CO.  Ross  and  Steinheil  Lenses, 
Photo.  Frames,  Goods,  Stereoscopes,  and  Views. 

WILSON'S  PHOTOGRAPHICS. 

WILSON'S  LANTERN  JOURNEYS. 

WILSON'S  VIEWS  OF  THE  ORIENT. 


119  South  Fourth  St. 

PHILADELPHIA. 

Branch  Office, 
60S  Seventh  Street, 

WASHINGTON,  D.  C. 


mm 


H.  HOWSON, 

Engineer  and  Solicitor  of  Patents. 

C.  HOWSOX, 

Attorney  at  Law,  and  Counsel  in 
Patent  Cases. 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


177 


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'P9AT909J  9.TB  A*9qq.  S'B  ^"BJ  S'B  p{OS 
9.TB  S9SU9rI  9qq.  S'B  'ofBj^na  ^b 
sn  q^iM  J9pao  jiioa*  9A'B9i 
pu'B  9jns  9q  *2[oo^s  m 
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ion  9A^q  9A\  ji  / ,  /uo£   fad   miA   e^m 

W80  noA*  ^Bqq.  ^u9in^S9A 


-ui  o^;    *2[joa\  J9^9q  pu'B 
jlqSj.'bi  ^i  q^iM  92^'Bra  itbo  noj^ 

9UIOq  92['Bq.   pu'B  9JIIS  9q  'UOI^U9A 

-uoq    9qq.   oq.    ^isia   jnoA*    raojj 
SiTfLSaH  iNaNVWHad  qsiA\  noA  £. 

'sssi  vims  hi  io  am  mm 


JUST  FOUR  YEABS  AGO  I  ISSUED   THE  FOLLOWING 


«-*<- 


//£-£-Z> t^-^Jlw      /P0"^-        ^^^-^^L       &&Zsl«^<£.        &K-*<*JZ-<^       /*y  (djU^A*^.    , 


Since  then  nearly  four  thousand  copies  have  been  sold,  and  it  still  sells  at  the  rate  of 
four  or  five  each  day.  Sent  prepaid,  by  post,  for  $4.00,  by  all  stock  and  newsdealers,  or 
EDWARD  L.  WILSON,  Author  and  Publisher,  1125  Chestnut  Street,  Philadelphia, 


THE    PHILADELPHIA    PHOTOGKAPHEE. 


179 


KEEVIL'S   PATENT 

NEWTONIAN  DUPLEX  LANTERN. 

This  new  lantern  is  duplex  in  form,  being  fitted  with  one  optical  system,  projecting  in  front,  and 
another  projecting  from  one  side.  The  light  through  the  first  system  is  transmitted  on  to  the  screen 
directly,  in  the  usual  way.  At  the  extremity  of  the  other  system,  is  fixed  a  prismatic  lens^by  which 
neans  a  disk  can  be  projected  on  to  the  screen  central  with  the  other.  The  oxyhydrogen  jet  is  ar- 
ranged on  a  pivot,  which  is  a  fixture  in  the  bottom  of  the  lantern,  the  centre  of  rotation  being  as 
near  the  outside  surface  of  the  lime  cylinder  as  possible;  and  by  rotating  the  burner  through  about  a 
quarter  of  a  circle,  the  light  is  brought  central  with  each  condenser  alternately,  and  simultaneously 
the  mechanical  dissolver  opens  and  closes  the  objectives. 

A  Complete  Lime-Light  Dissolving  Apparatus,  most  Compact 

in  Form,  at  the  Low  Price  of  $100.00;  with  Full 

Oxyhydrogen  Accoutrements,  $130.00. 


<r*  C^  "*  rH  ,-1  rt 


To  compensate  for  any  loss  of  light  occasioned  by  the  use  of  the  prism,  the  condenser  of  this  system 
is  made  somewhat  shorter  in  focus  than  the  other  one,  evenness  of  illumination  being  thereby  secured. 
Both  objectives  are  made  achromatic,  and  the  definition  of  the  one  to  which  the  prism  is  attached  is 
in  no  way  inferior  to  the  ordinary  one.  The  jets  never  require  adjustment,  as  every  lantern  is  put  to 
a  practical  test  before  being  sent  out;  the  best  position  for  the  jet  being  thereby  obtained,  further  ad- 
justment becomes  unnecessary,  The  dissolving  apparatus  is  adjustable  and  very  efficient.  The  conical 
fronts  are  easily  detached,  and  if  required  it  can  be  used  as  a  single  lantern.  The  whole  lantern  is  of 
metal.  Its  small  dimension  are  much  in  its  favor,  the  whole  packing  into  a  small  box,  easily  carried 
in  the  hand.  These  desiderata  are  certain  to  make  it  a  favorite  with  those  who  wish  for  an  apparatus 
o<*  extreme  portability.     See  further  in  our  new  catalogue. 

>  We  have  arranged  for  the  sole  agency  of  the  United  States,  and  have  a  stock  on  hand  and  for  sale. 
Wa  have  thoroughly  tried  the  new  lantern,  and  are  charmed  with  it  in  every  way.  It  is  lighted  in  a 
Tiinute,  easily  adjusted,  and  gives  entire  satisfaction. 

SEVERAL  RECENT  IMPROVEMENTS. 
SEOUEED  BY  LETTEES-PATENT  IN  ENGLAND  AND  THE  UNITED  STATES. 

It  is  made  to  sit  on  any  table  or  stand,  and  full  directions  for  working  accompany  it.  Send  for  estimate  for  a  full 
outfit,  bags,  tubing-,  generator ;  &*c.  <5r=c.     Lists  of  our  new  dissolving  views  will  be  given  on  application. 


EDWARD   L.  WILSON, 


Sole  Agent  foi  the  United  States. 


1125  Chestnut  St.,  Philadelphia. 


180 


THE   PHILADELPHIA  PHOTOGRAPHER. 


WILSON'S  LANTERN  JOURNEYS 

These  descriptions  should  be  in  the  hands  of  every  Lantern  Exhibitor  and  Lecturer.  They 
help  you  choose  slides.  They  tell  you  what  facts  and  figures  the  public  want  to  know  about  the 
places  and  things  you  exhibit.  The  contents  are  divided  into  JOURNEYS  or  selections  as  per 
list  below : 


DESCRIBES 

SLIDES 

ALL  OVER 

THE  WORLD. 


3  VOLUMES. 


VOLUME  I.  306  PAGES, 

Contains  NINE  Journeys: 

A — France  and  Switzerland. 

B — Belgium,      Germany,     Austria, 

Saxony,  and  Bavaria. 
O— Italy — Lakes,    Cities,    and    the 

Italian  Art  Galleries. 
D — Holland,      Denmark,     Norway 

Sweden,  Russia,  and  Spain. 
E — Egypt,  Palestine,  Syria,  Turkey, 

Greece,  and  India. 
P — England,  Scotland,  and  United 

States  of  America. 
G — Centennial  Exhibition,  Philada. 
H — Centennial  Exhibition,  Philada. 
I— The  Paris  Exposition,  1878. 

IN  ALL,  O  VEIt  900  SUBJECTS. 

PRICE  $2,  POST-PAID. 


DESCRIBES 

SLIDES 

ALL  OVER 

THE  WORLD 


3  VOLUMES. 


VOLUME  E.  331  PAGES, 

Contains  TWELVE  Journeys: 

J — Germany  and  Russia. 

K — Belgium  and  Austria. 

L — France — Cities  and  Provinces. 

M— Spain  and  Portugal. 

N — Switzerland— The   Pour  Alpine 

Routes. 
O — Italy,  Ischia,  and  Sicily. 
P— Turkey,  Greece,  and  Egypt. 
Q — Palestine  and  India. 
R— Scotland — Cities  and  Ruins. 
S — Ireland. 
T — England— Cities,  Museums,  and 

Ruins. 
U — United  States  of  America. 

IN  ALL,   1073  SUBJECTS. 

PRICE  $2,  POST-PAID. 


9SF VOLUME  III— ON  THE  ORIENT— NOW  READY.=@g 
PRICE  $2,  POST-PAID. 

Gives  descriptions  of  ali  the  slides  made  l>y  Mr.  Edward  Ij.  Wilson  of  his  personally 

taken  views  of  The  Sinai  Peninsula ;   The  Desert  of  the  Exodus ;   The 

Route  of  the  Israelites  to  the  Promised  Land;  and 

THE  TAKING  OP  PETRA 


NEW    LECTURES    IN    PRESS. 


by 


LTDSeaifers.  EDWARD  L.  WILSON,  Photo.  Publisher,  Philadelphia,  Pa. 

SEND  FIFTEEN  CENTS  FOR  NEW  CATALOGUE. 


THE    PHILADELPHIA    PHOTOGEAPHEE, 


181 


THE  BEST  AND  THE  CHEAPEST 


GREAT  REDUCTION  IN 

PRICES.  OF  DRY  PLATES. 

FROM  AND  AFTER  MAY  10,   1885,  THE  PRICES  OF 

Eastman's  Special  Dry  Plates 

WILL  BE  AS  FOLLOWS  : 


3%  * 

4% 

$o     45 

4      x 

5 

65 

4%  x 

5K 

75 

4%  x 

ey2 

90 

5       x 

7 

1    10 

5      x 

8 

i    25 

6%  x 

%y2 

1   65 

8       x 

IO 

2  40 

10x12 

$3  80 

11x14 

5  00 

14X  17 

9  00 

16  x  20 

12  50 

17  x  20 

13  00 

l8  X  22 

15  50 

20  x  24 

18  50 

Eastman  Special  Dry  Plates  give  the  best  chemical  effects,  and  photographers 
are  invited  to  compare  them  with  any  other  plate  in  the  market  for  Brilliancy, 
Roundness,  and  Quick  Printing. 

Owing  to  improvements  made  from  time  to  time,  and  the  extreme  care  exer- 
cised in  every  detail  of  their  manufacture,  these  plates  are  quick,  clean,  and 
uniform. 

Only  the  best  English  glass  is  used.  No  cheap  French  glass,  such  as  is  em- 
ployed in  inferior  plates.     Try  them  and  you  will  use  them. 


FOR  SALE  BY  ALL  DEALERS. 


MANUFACTURED  ONLY  BY 


THE  EASTMAN  DRY  PLATE  AND  FILM  CO., 

ROCHESTER,  N.  Y. 


182  THE   PHILADELPHIA   PHOTOGRAPHER. 


The  Following  is  of  Interest  to  Every  Photographer. 


THE  NEW  N.  P.  A. 


PENSE. 


We  desire  to  call  attention  to  our  NEW  PENSE  N.  P.  A.  Extra  Brilliant 
Dresden  Albumen  Paper. 

The  manufacturers  at  Rives  have  recently  many  marked  improvement  in  their 
celebrated  paper,  and  all  the  sheets  of  this  brand  are  manufactured  specially  for 
it,  and  are  readily  distinguished  from  all  other  papers  by  the  water-mark  N.  P.  A. 

It  is  doubly  albumenized  by  the  most  experienced  house  in  Germany,  with 
new  and  improved  formulas,  and  we  are  confident  that  on  trial  it  will  be  found 
superior  to  any  other  in  market. 

Its  excellence  has  induced  some  unscrupulous  persons  to  place  the 
STAMP  on  the  Paper  of  other  makers,  in  order  to  work  it  off,  trusting  that 
photographers  will  not  look  through  to  see  if  the  water-mark  is  there.  To 
prevent  this  we  have  registered  m^This  Trade  Mark'^a  in  Washington,  which  will 
subject  to  heavy  damages  all  <<^^v"  ^L/j  those  who  stamp  this  brand 
on  paper  which  does  not  bear  ^  N.P.A.  ^  the  water-mark  N.  P.  A. 
This  Paper  can  be  had  also  in        DRESDEN.        PINK,  PEARL  or  WHITE. 

FOR  SALE  BY  ALL  DEALERS  IN  PHOTO.  GOODS  IN  U.  S.  AND  CANADA. 


E.  &  H.  T.  ANTHONY  &  CO., 

591  Broadway,  NEW  YORK. 

N.  B. — When  any  paper  is  offered  to  you  at  a  low  price,  Measure  it. 

Also  note  whether  it  runs  Uniform,  for  some  albumenizers  mix  the  first  and 
second  qualities,  not  discarding  that  which  has  defects,  and  thus  get  their  paper 
cheaper. 


THE    PHILADELPHIA   PHOTOGEAPHER. 


183 


Iixxx^oirt^tiEL-t  Reduction 

IN  THE  PRICE  OF  THE  POPULAR 

STANLEY  DRY  PLATES 


FOLLOWING  IS  THE  REDUCED  PRICE  LIST: 


3X  x  4X  >  Per  dozen, 
•4x5, 

4X  *  e#, 

5x7, 
5x8, 

QlA  x  8}4, 

8x  10, 


$0  45 

65 

75 

90 

1   10 

1  25 

1  65 

2  40 


lO  x  12,  per  dozen, $3  80 


11  x  14, 
14  x  17, 

16  x  20, 

17  x  20, 

18  x  22, 
20  x  24, 


5  OO 
9  OO 

12  50 

13  OO 
15  50 
18  50 


These  Plates  have  met  with  remarkable  favor  among  both  amateur  and 
professional  photographers,  and  the  demand  is  much  greater  than  could  have 
been  expected  within  the  short  time  that  has  elapsed  since  their  introduction. 
Their  rapid  rise  to  popularity  is  a  sufficient  evidence  of  their  superior  qualities, 
for  with  so  many  plates  in  the  market,  nothing  but  intrinsic  excellence 
could  have  brought  them  so  suddenly  into  their  conceded  position  of  the 
best  plates  made.    FOR  SALE  BY  ALL  DEALERS. 


IMPORTANT 


DISCOVERT. 


tropical  dry  plates. 

The  only  Dry  Plates  made  that  will  not  frill  in  water  of  any  temperature, 
and  can  be  dried  by  artificial  heat.  By  their  use  the  negative  can  be  developed, 
fixed,  and  dried  in  a  few  minutes,  enabling  proofs  to  be  taken  from  them  at  once. 
They  are  Rapid  and  Uniform,  unsurpassed  for  softness  and  delicacy,  and  can  be 
used  in  the  hottest  climates. 


PRICES  AS  FOLLOWS: 


3%  x  4^1  Per  dozen, 
4x5, 

4X  *  5K, 

5x7, 
5x8, 

Q/2  x8^, 
8x  10, 


$0  50 
75 
85 
05 
30 
45 
90 
80 


10  x  12,  per  dozen, $4  00 


11  x  14, 
14  x  17, 
16x20, 

17  x  2o, 

18  x  22, 
20  x  24, 


5  85 
10  50 

14  50 

15  25 
18  OO 
21  50 


E.  &  H.  T.  ANTHONY  &  CO. 

Sole  Agents.  NEW  YORK. 


CAN  BE  HAD  OF  ANY  DEALER  IN  PHOTO.  MATERIALS. 


ttMWTS  PffOfOtffl  APfftdS 

WHAT  IS  SAID  BY  ITS  READERS:       I 


We  cannot  recommend  it  too  highly  to  our  colleagues. 
— Mons.  Leon  Vidal,  Editor  of  the  Paris  Moniteur. 

The  success  of  this  latest  gem  of  photographic  litera- 
ture will,  no  doubt,  be  as  great  as  the  merit  of  the  work 
deserves.  Among  the  photographic  writers  of  America 
E.  L.  Wilson  stands  without  a  compeer. — Dr.  H.  Vogel, 
Editor  of  the  Photo.  Mitth. 

By  far  the  best  photographic  book  ever  published  in 
America.  It  is  written  with  great  elegance  and  mas- 
terly handling  of  the  subject. — Dr.  E.  Horning,  Editor 
of  Photographic  Correspondez,  Vienna. 

Would  not  he  without  one  for  triple  the  price. — 
Emmerson  Goddard,  Woonsocket,  R.  I. 

It  is  a  perfect  encyclopedia  of  the  photographic  art 
up  to  date. — H.  L.  Bliss,  Buffalo,  N.  Y. 

Photographies  is  the  most  imposing  hook  devoted  to 
photography  I  have  seen. — -J.  F.  Ryder,  Cleveland. 

Photographies  looks  fine,  and  is  selling  well.  We  are 
doing  our  best  to  push  it. — W.  Irving  Adams,  N.  Y. 

The  plan  of  the  book  is  novel.  .  .  .  Mr.  Wilson  could 
hardly  fail  by  this  plan  in  making  a  useful  and  prac- 
tical publication. — Anthony's  Bulletin,  N.  Y. 

It  is  the  very  best  text-hook  upon  our  beloved  art. — 
John  R.  Clemons,  Phila. 

I  have  inquiries  for  a  good  book  on  photography,  and 
I  think  yours  is  that  book. — John  Carbutt,  Phila. 

It  is  a  pity  you  can't  send  to  every  one  the  pages 
from  1  to  17 ;  all  would  be  sure  to  go  for  the  rest  of  it. 
— J.  H.  Hallenbeck,  New  York. 

It  is  a  complete  library. — W.  D.  Gatchel,  Cinn. 

We  know  of  no  one  in  our  fraternity  more  capable  of 
compiling  such  a  work  for  the  benefit  of  the  photo- 
graphic brotherhood  than  Mr.  Wilson. — J.  H.  Fitz- 
gibbon,  in  St.  Louis  Practical  Photographer. 

It  demands  a  position  in  the  library  of  every  photog- 
rapher, and  this  position  it  will  assuredly  attain  as 
soon  as  its  merits  become  known. — Editor  Photographic 
Times  and  American  Photographer. 

Photographies  is  my  evening  companion,  and  with  it 
the  evenings  are  very  short.  It  is  just  what  I  have 
been  wanting  for  a  long  time. — Well  G.  Singhi,  Bing- 
hampton,  N.  Y. 

It  is  a  good  work,  and  I  look  to  see  you  issue  a 
second  edition  as  soon  as  it  has  had  time  to  commend 
itself. — D.  Bachrach,  Jr.,  Bait.,  Md. 

I  consider  it  greatly  superior  to  anything  yet  pub- 
lished.— J.  B.  Leisenring,  Fort  Dodge,  Iowa. 

It  is  a  most  useful  book,  and  its  practical  teachings 
to  the  studious  photographer  contain  the  most  valuable 
information. — C.  D.  Mosher,  Chicago. 

Photographies  hits  the  nail  right  on  the  head.  I 
would  rather  have  it  than  all  the  other  books  on  pho- 
tography put  together.  The  idea  is  capital,  as  it  is 
original,  and  gives  us  the  whole  thing  in  a  nutshell. — 
B   W.  Kilburn,  Littleton,  N.  H. 


I  hope  that  every  photographer  will  see  to  it  that  his 
$4  goes  direct  to  you,  without  any  dealer's  commission 
off,  in  order  that  you  may  have  the  full  benefit  of  its 
price — a  benefit  indeed  for  the  many  years  you  have 
played  your  part  so  carefully  upon  the  photographic 
stage  for  us. — Fred.  C.  Phillips,  St.  Thomas. 

It  is  the  most  unique  aud  powerful  work  upon  the 
subject  I  have  ever  seen. — J.  E.  Beebe,  Chicago. 

The  book  of  photography.  It  is  worth  the  price  with 
compound  interest. — P.  Kellmer,  Hazleton,  Pa. 

I  have  read  Photogi  aphics  through,  and  am  fully 
satisfied  it  is  without  a  peer  in  photographic  literature. 
To  me  it  is  invaluable. — E.  P.  Hovey,  Rome,  N.  Y. 

My  friend  and  tutor,  allow  me  to  thank  you  for  your 
noble  book,  and  may  thousands  testify  to  its  value  b; 
giving  it  the  chiefest  place  in   their  library. — F. 
Spencer,  Mansfield,  Pa. 

I  can  assure  you  sincerely  that  I  never  invested  $< 
for  reading  with  as  much  satisfaction  as  in  this  case 
C.  T.  Stuart,  Hartford,  Conn. 

A  short  time  since  I  had  the  pleasure  of  perus 
your  new  book  Photographies.  As  a  result  I  want 
and  enclose  check  for  four  dollars. — Geo.  Pine,  Tren 
New  Jersey. 

Of  all  the  photographic  literature  published,  this 
book  seems  the  very  best. — J.  P.  Spooner,  Stockton, 
Cal. 

I  am  very  much  delighted  with  it.  The  treatises  on 
dry-plates,  emulsions,  etc.  etc.,  are  all  very  minute  in 
detail. — J.  A.  Van  Drelzen,  Peoria,  111. 

I  think  the  Photographies  a  very  valuable  book,  one 
that  every  photographer  should  have. — K.  T.  Sheldon,  I 
West  Winsted,  Conn. 

It  is  the  best  book  I  ever  got  possession  of.  Those 
who  want  lightning  or  instantaneous  processes  had 
better  get  a  copy  and  work  with  pleasure.  Nothing 
like  it;  too  good  to  be  without. — Joseph  Theiring, 
Cincinnati,  Ohio. 

The  first  short  article  that  I  read  was  worth  the  cost 
of  the  book,  and  in  looking  it  over  find  it  contains  an> 
inestimable  amount  of  valuable  information  which 
would  not  be  found  out  in  a  lifetime  of  practice. — E. 
F.  Bdrchand,  Worthington,  Minn. 

Your  Photographies  will  supply  a  want  long  felt 
among  the  fraternity,  more  especially  among  those  like 
ourselves  who  are  "out  of  the  world,"  so  to  speak. — 
J.  R.  Hanna,  Auckland,  Australia. 

One  hundred  dollars  would  not  buy  mine  if  I  could 
not  get  another.  I  do  not  see  how  I  managed  so  long 
without  it. — Oscar  Cromwell,  Grizzly  Flat,  Col. 

Photographies  suits  me  better  than  any  similar  work 
I  have  come  across.  The  giving  of  the  experience  of 
different  workers  on  the  same  subject,  and  giving  it  in 
their  own  words,  being  an  especially  valuable  feature. 
— S.  B.  Kill,  Flemington,  N.  J. 

Your  Photographies  is  the  best  thing  out;  practical 
and  to  the  point,  and  no  nonsense. — Walt.  C.  North, 
Utica,  N.  Y. 


SALE  DON'T  STOP. 

"Will  be  mailed,  post-paid,  to  any  address,  on  receipt  of  $4.00. 

EDWARD  L  WILSON,   Author  and  Publisher,  1125  Chestnut  Street,  Philadelphia 


THE    PHILADELPHIA    PHOTOGRAPHER  185 

.  Benj.  French  &  Co. 

No.  319  WASHINGTON  STREET,  BOSTON, 

Sole  Agents  in  the  United  States  for  the  Celebrated  Lenses 
Manufactured  by 

voigtlAnder  &  SON. 


ALSO,  THEIR  FAMOUS 


Ek 


Which  is  unrivalled    for  groups,  full-length   figures,  and  other  demands  in  the 
gallery,  and  every  species  of  out-door  work,  including  instantaneous  photography. 

4SST  THE  EURYSCOPE  is  made  exclusively  by  Voigtlander  &  Son,  and  their 
name  is  engraved  on  the  tube. 


PORTRAITS.    DARXlOT     LUNSiuS    VIEWS. 


IMPORTERS,  ALSO,  OF  THE  CELEBRATED 

TRAPP  &  MUNCH 

ALBUMEN    PAPER, 


AND  DEALERS  IN  ALL  KINDS  OF 


Photographic  Materials  and  Magic  Lantern  Slides. 


SEND  FOR  OUR  NEW  ILLUSTRATED  PRICE  LIST  OF  LENSES. 


186 


THE    PHILADELPHIA    PHOTOGEAPHER 


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THE    PHILADELPHIA    PHOTOGRAPHER.  187 

A  GLOW  of  PHOTOGRAPHIC  PUBLICATIONS 


The  amateur  and  his  old  friend,  the  daily  worker,  are  well  taken  care  of  in  the 
literature  line,  and  we  ask  th,eir  attention  to  the  following  list,  which  includes 
about  everything  there  is  need  for.  There  is,  in  fact,  a  treatise  on  every  branch 
of  photography. 

The  Philadelphia  Photographer.  A  monthly  magazine,  illustrated  by  photographs  of 
superior  merit.  $5  a  year;  $2.50  for  six  months. — Stands  ahead  of  all  its  kindred.  Eighteen 
years  of  success  is  a  sufficient  guarantee  of  its  value  and  use  to  the  practical,  working,  growing 
photographer.     Do  not  go  without  its  valuable  help. 

The  Ferrotyper's  Guide.  Price,  75  cents. — Cheap  and  complete.  For  the  ferrotyper 
this  is  the  only  standard  work.     Seventh  thousand. 

Pictorial  Effect  in  Photography.  By  H.  P.  Robinson.  Cloth,  #1.50;  paper  cover, 
$  1 . — For  the  art  photographer. 

Wilson's  Photographies.  The  newest  and  most  complete  photographic  lesson-book. 
Covers  every  department.     352  pages.     Finely  illustrated.     Only  $4.     By  Edward  L.  Wilson. 

"Wilson's  Lantern  Journeys.  By  Edward  L.  Wilson.  In  three  volumes.  Price,  $2  per 
volume. — For  the  lantern  exhibitor.  Gives  incidents  and  facts  in  entertaining  style  of  about  2,000 
places  and  things,  including  200  of  the  Centennial  Exhibition. 

Bigelow's  Artistic  Photography.  Price  reduced  to  $4. — For  the  lover  of  art.  Beats 
his  "Album  of  Lighting  and  Posing."     Superb  !     With  twelve  photographs  and  instructions. 

Studies  in  Artistic  Printing.  By  C.  W.  Hearn.  Price,  $3.50. — Embellished  with  six 
fine  cabinet  and  promenade  portrait  studies. 

The  Photographic  Oolorists'  Guide.  By  John  L.  Gihon.  Cloth,  $1.50. — The  newest 
and  best  work  on  painting  photographs. 

Photographic  Mosaics,  1884.  A  year-book.  Cloth  bound,  $1 ;  paper  cover  50  cents. 
Better  than  any  of  its  predecessors. — Back  volumes,  same  price. 

The  Photographic  Amateur.  By  J.  Traill  Taylor.  A  guide  to  the  young  photogra- 
pher, either  professional  or  amateur.     Price,  50  cents. 

The  Art  and  Practice  of  Silver-Printing.  By  H.  P.  Robinson  and  Capt.  Abney, 
R.E.,  F.R.S.     Price,  50  cents.     Illuminated  cover.     Cloth  bound,  75  cents. 

How  to  Make  Pictures.  (Second  edition  of  5,000  copies.)  The  ABC  of  Dry-plate  pho- 
tography.    By  Henry  Clay  Price.     Price,  illuminated  cover,  50  cents;  cloth,  75  cents. 

Photography  with  Emulsion.  By  Capt.  W.  De  W  Abney,  R.E.,  F.R.S.  Price,  $1 
per  copy. 

Twelve  Elementary  Lessons  in  Dry-plate  Photography.  Price,  25  cents  per 
copy. 

The  Modern  Practice  of  Retouching.     Price,  50  cents  per  copy. 

The  Spanish  edition  of  How  to  Make  Pictures.  Ligeras  Lecciones  sobre  Fotografia 
Dedicados  a  Los  Aficionados.     Price,  $1  per  copy. 

The  Progress  of  Photography  Since  1 879.  By  Dr.  H.  W.  Vogel.  A  splendid  helper 
to  all  workers.     Price,  $3. 

Picture  Making.     By  H.  P.  Robinson.     Cloth,  $1.     Paper,  50  cents. 

All  orders  for  above  will  be  filled,  free  by  post,  on  receipt  of  price  at  the 
office  of  this  magazine. 

EDWARD  L.  WILSON,  Photo.  Publisher,  1125  Chestnut  St.,  Phila. 


188  THE    PHILADELPHIA    PHOTOGRAPHER. 


JAMES   INGLIS, 


MANUFACTURER  OF  THE 


Inglis  Dry  Plates, 

ROCHESTER,  N.  Y. 


INGLIS'  NEW  DRY  PLATE. 

E.  L.  Wilson  says  they  are  too  quick  for  him  in  New  Orleans, 
but  adds,  the  quality  is  all  right.     Send  us  slower  ones. 

Negatives  made  in  one  or  ten  seconds,  both  equally  good. 
We  saw  this  done,  and  so  exactly  alike  were  the  two  negatives 
they  could  not  be  told  apart.  Both  taken  on  one  plate  then  cut 
in  two.  Fred.  Robinson,  Trumansburg. 

Hale,  Seneca  Falls. 

For  Transparencies  they  are  not  excelled.  How  to  develop 
for  positives.  For  quick  or  slow  exposures.  For  hard  or  soft 
negatives,  find  in  our  directions,  which  will  enable  the  youngest 
amateur  to  work  successfully.     Will  send  them  by  mail  on  request. 


THERE  IS  NO  FEAR  OF  FRILLING. 


SCOYILL  MANUFACTURING  CO,  AGENTS. 

And  For  Sale  by  most  of  the  Dealers. 


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FOR  SALE  BY  ALL  DEALERS. 


Agents. 


190  THE    PHILADELPHIA    PHOTOGEAPHEE. 

(2 -THE » 


PROGRESS  OF  PHOTOGRAPHY 

FROM     1879    tO     1884. 
By  DR.  H.  W.  VOGEL, 

Professor  and  Teacher  of  Photography  and  Spectrum  Analysis  at  the  Imperial 

Technical  High  School. 


NOW    FL  E3  .A.  13  Y. 

A   Review   of  the    more    Important   Discoveries   in 

Photography  and  Photographic  Chemistry 

within  the  Last  Four  Years. 

READ    WHAT    HE    SAYS    ON 

EMULSION    PHOTOGRAPHY, 

AND 

THE  CHAPTER  ON  PHOTOGRAPHY  FOR  AMATEURS. 

INTENDED  ALSO  AS  A  SUPPLEMENT  TO  THE  THIRD  EDITION 
OF  THE  HANDBOOK  OF  PHOTOGRAPHY. 

Revised  by  EDWARD  L.  WILSON,  Editor  Philadelphia  Photographer. 
Translated  from  the  German  by  ELLERSLIE  WALLACE,  Jr.,  M.D. 


$3.00.  347    PAGES.  $3.00. 

With  Seventy-two  Illustrations,  and  an  admirable  portrait  taken  with 
Electric  Light,  by  W.  Kurtz,  New  York. 

(SEE  OPPOSITE  PAGE.) 


THE  PHILADELPHIA  PHOTOGRAPHER. 


191 


VOGEL'S 


Progress  in  Photography. 


CONTENTS: 


CHAPTER  I. 
PHYSICAL  EFFECTS  OF  LIGHT. 

CHAPTER  II. 
CHEMICAL  EFFECTS  OF  LIGHT. 

A.  Effects  of  Light  upon  Metalloids  and  their 

Compounds. 

B.  Effects    of  Light  upon   Metals  and   their 

Compounds. 
The  Double  Salts  of  Iron  and  Oxalic  Acid. 
The  Iron  Lichtpius  Process. 
Actinium,  a  new  Metal. 
Salts  of  Copper. 
Salts  of  Chromic  Acid. 
Combinations  of  Mercury. 
Platinum  Printing. 
The  Salts  of  Silver. 

The  Various  Modifications  of  Bromide  of 
Silver  and  the  Chemical  Principles  of  the 
Emulsion  Process. 
Photo-chemistry  of  Chloride  of  Silver. 
Rare  Salts  of  Silver. 

CHAPTER  III. 
PHOTOGRAPHIC  CHEMISTRY. 

Different  Forms  of  Pyroxyline, 
Concerning  the  Characteristics  of  Gelatine. 

CHAPTER  IV. 
PHOTOGRAPHIC  OPTICS. 

New  Objectives. 

Artificial  Light  and  its  Application  to  Pho- 
tography. 
Chemical  Photometers. 

CHAPTER  V. 
PHOTOGRAPHIC  APPARATUS. 

Cameras,  Changing-boxes,  and  Tripods. 
Instantaneous  Shutters. 


CHAPTER  VI. 

THE  NEW  PHOTOGRAPHIC 
PROCESSES. 

A.  New  Negative  Processes  (Dry  Processes). 
Piepnration  of  Gelatine  Emulsion. 

'/.  The  Author's  Method. 

b.  Eder's  Method  with  Ammonio-nitrate 

of  Silver. 

c.  Eder's  Combination  Method  with  the 

Author's  Modification. 

d.  Eder's  New   Method  with   Carbonate 

of  Ammonia. 

e.  Precipitation  Methods. 

f.  Vogel's  Emulsion. 

B.  The  Manipulation  of  the  Gelatine  Plates. 

1.  Gelatine  Plates. 

a.  The  Exposure. 

b.  The  Development. 

c.  The  Fixing. 

d.  The  Intensifying. 

e.  The  Drying  and  Finishing. 

2.  Vogel's  Emulsion  Plates. 

3.  Failures  in  Gelatine  Plates. 

4.  Notes  on  the  Gelatine  Process. 

C.  New  Positive  Processes. 

1.  The  Platinum  Processes  (Platinotype). 

2.  New  Silver  Printing  Processes. 

3.  New  Enlargement  Processes  and  Appa- 

ratus. 

4.  New  Permanent  Printing  Processes. 

CHAPTER  VII. 

PHOTOGRAPHIC  .ESTHETICS  AND 
PORTRAIT  TECHNIQUE. 

CHAPTER  VIII. 
PHOTOGRAPHY  FOR  AMATEURS. 


$3.00 PRICE $3.00 


MAILED  ON  RECEIPT  OF  PRICE,  BY 

EDWARD  L.  WILSON,  1125  Chestnut  St.,  Philadelphia. 


192 


THE    PHILADELPHIA    PHOTOGRAPHER. 


DEALERS'  DIRECTORY. 


The  following  houses  are  to  be  recommended  as 

the  best  for  photographers  in  their  localities. 
+ 


S.  T.  BLESSING, 

New  Orleans, 

La. 


THE 

BEST  BOOK 

IS 


SMITH  &  PATTISON, 

New  Location, 

145  &  147  Wabash  Avenue, 

Chicago. 


H.  A.  HYATT, 

Mound  City  Photo.  Stock  House, 

8th  and  Locust  Sts., 

St.  Louis,  Mo. 


WILSON'S 

PHOTOGRAPHICS, 

$4.00. 


D.  J.  RYAN, 

Savannah, 

Ga. 


SGOVILL  MANF'e  CO, 

423  Broome  St., 
New  York. 


D.  TUCKER  &  CO., 


Buffalo, 


N.  Y. 


BLESSING  &  BKO., 

Galveston, 

Texas. 


O.H.OODMAN&OO. 

Boston,  Mass. 


WILSON,  HOOD  &  CO., 

825  Arch  Street, 
Philadelphia,  Pa. 


B.  FRENCH  &  CO. 

Boston,  Mass. 


BUCHANAN. SMEDLET 
&  BROMLEY, 

25  N.  Seventh  St., 

Philadelphia. 


EDWARD  L.  WILSON, 

Photo.   Publisher, 

LANTERN  SLIDES, 

1 125  Chestnut  St., 

Philadelphia. 


MDLLETT  BROS. 

Kansas  City, 
Mo. 


OSCAR  FOSS, 

San  Francisco, 
Cal. 


E.&H.T.ANTHONY&CO. 

591  Broadway, 

New  York. 


SHEEN  &  SIMPKINSON, 


Cincinnati, 

Ohio. 


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EDITED    BY    EDWARD    L.    WILSON, 


Vol.  XXII. 


JULY,   1885. 


No.  259. 


PERTAINING  TO  THE 


Cincinnati,  June  25,  1885. 
The  arrangements  for  our  sixth  annual 
Convention  and  Exhibition,  to  be  held  at  the 
new  State  Arsenal,  Buffalo,  July  14  to  18, 
are  now  completed.  There  will  be  good 
light,  and  ample  room  for  all.  We  have 
been  successful  in  procuring  practical  papers, 
and  several  subjects  of  great  interest  will  be 
discussed.  I  can  safely  say  that  the  build- 
ing in  which  our  Convention  will  be  held  is 
the  largest  and  best  adapted  for  the  purpose 
of  any  we  have  ever  had.  The  spaces  for 
exhibitors  have  been  liberally  taken,  and 
the  photographer  will  see  such  a  display  of 
photographic  apparatus  and  novelties  as  he 
has  never  seen  before  in  our  collection  ;  be- 
sides, the  specimens  of  photographic  work 
of  this  country  and  from  Europe  will  be 
most  interesting.  Some  of  the  European 
exhibits  have  arrived,  and  are  pronounced 
very  fine.  Great  efforts  have  been  made  for 
this  Convention,  and  the  success  of  the  As- 
sociation depends  on  it.     Therefore,  let  all 


decide  at  once  to  go  to  Buffalo.  Bound 
trip  tickets  at  reduced  rates  can  be  had  on 
all  the  different  lines  by  presenting  photog- 
raphers' certificate,  which  can  be  obtained 
from  any  stockdealer  throughout  the  coun- 
try. The  hotels  have  reduced  their  rates. 
Fraternally,  J.  Landy. 

Editor  Philadelphia  Photographer  : 

I  begin  to  realize  that  the  sixth  annual 
Convention  of  the  Photographers'  Associa- 
tion of  America  is  near  at  hand.  Our  house 
is  in  order,  and  lamps  trimmed  and  burning, 
as  will  be  seen  by  the  following  programme, 
list  of  exhibitions,  and  diagrams  showing 
the  amount  of  exhibits  of  photographic 
requisites : 

Programme. 

Photographers'  Association  of  America, 
July  14  to  18  inclusive,  to  be  held  in  new 
State  Arsenal,  Buffalo,  1ST.  Y. : 

Tuesday,  June  14,-  10  a.  m.  :  Address  of 
welcome  by  Secretary  McMichael. 

Address  and  opening  of  the  Convention 
by  the  President. 

Boll  call  of  members. 

Beading  minutes  of  last  meeting. 

Beports  of  standing  committees,  consist- 
ing of  Chairmen  of  Executive  Committee, 
by  W.  A.  Armstrong,  and  Progress  of  Pho- 
tography, by  C.  Gentile. 

Appointing  committees  to  nominate  offi- 
cers, and  to  select  location  for  next  Conven- 
tion. 

Miscellaneous  business. 

Annual  report  of  the  President,  consisting 


194 


THE    PHILADELPHIA    PHOTOGRAPHER 


of  a  review  of  the  progress,  needs,  and  bene- 
fits of  photography. 

July  14,  2  p.  m.  :  Paper  by  E.  L.  Wilson 
— "The  Dignity  of  Photographic  Art." 

Discussion — "The  Deterioration  of  Gela- 
tine Dry  Plates." 

Paper  by  J.  P.  Eyder — "How  to  See." 

Discussion — "The  Best  Method  of  Light- 
ing a  Dark-room." 

Paper  by  J.  L.  Hurd — "Photographic 
Portraits  and  Camera  Pictures." 

Paper  by  J.  Burton — "Development." 

July  15,  10  a.  m.  :  Beading  minutes  of  last 
meeting. 

Unfinished  business. 

Keports  of  committees  on  nominations 
and  location. 

New  business. 

July  15,  2  p.  m.  :  Excursion  to  Niagara 
Palls.' 

July  16,  10  a.  m.  :  Beading  minutes  of  last 
meeting. 

Unfinished  business. 

Beports  of  committees. 

New  business. 

Lecture  by  Dr.  Garrison,  Chicago — "Dry 
Plates."" 

2  p.  M. :  Opening  of  Question  Box. 

Paper  by  J.  Traill  Taylor— "  Certain  De- 
fects Incident  to  the  Construction  and  Use 
of  Combination  Lenses." 

Paper  by  W.  A.  Armstrong — "  Our  Mis- 
takes; Let  us  Correct  Them." 

Paper  by  Col.  Stuart  Worthy. 

July  17,  10  a.  m.  :  Beading  minutes  of 
last  meeting. 

Unfinished  business. 

Beports  of  committees. 

Election  of  officers. 

Selection  of  location  for  next  Convention. 

July  17,  2  p.  m.  :  Paper  by  J.  Landy — 
"Prices." 

Paper  by  G.  M.  Carlisle — "Backgrounds; 
their  Use  and  Abuse." 

Paper  by  H.  P.  Eobinson,  Tunbridge 
Wells,  England. 

Paper  by  W.  M.  Ashman — "  Portable 
Support  for  Washing  Plates." 

Discussion  of  prices. 

Paper  by  G.  A.  Douglass,  Chicago. 

July  18,  10  A.  m.  :  Unfinished  business. 

Closing  ceremonies. 

H.  McMlCHAEL,  Sec'y. 


One  of  the  injunctions  of  the  Apostle  to 
the  early  Church  was,  "  Forsake  not  the 
assembling  of  yourselves  together,  as  the 
manner  of  some  is."  The  great  Teacher 
had  wisdom  to  see  that  all  growth  and 
progress  depended  upon  the  combination  of 
motive  for  the  engendering  of  a  common 
interest,  and  I  think  that  the  photographic 
fraternity  would  benefit  by  taking  regard  of 
this  precept.  In  a  few  weeks  one  of  the 
most  important  events  in  American  photog- 
raphy takes  place  in  Buffalo.  Need  we  say 
it  is  the  Convention  ?  We  are  so  assured  of 
its  success  that  we  cannot  refrain  from  giving 
a  last  injunction.     Fail  not  to  attend. 

No  one,  however  great  his  knowledge  or 
ability,  will  advance,  even  at  a  snail's  pace, 
if,  snail  like,  he  shut  himself  up  in  the  con- 
fines of  prejudice  and  narrow  opinion.  But 
it  is  unnecessary  to  urge  this  upon  those 
who  do  possess  knowledge  and  ability.  They 
are  the  ones  who  are  ever  foremost  in  their 
endeavors  to  secure  the  great  advantages 
which  accompany  and  flow  from  the  con#ng 
together  of  kindred  spirits.  Look  at  our 
own  Convention.  The  men  who  have  been 
most  zealous  in  its  support  in  the  past,  and 
who  are  at  present  holding  up  its  hands,  are 
not  the  obscure  and  unknown,  but  those 
who  stand  the  highest  in  our  profession. 
They  know  how  to  value  the  harvest  it 
yields,  and  if  they  estimate  its  advantages 
so  highly,  surely  every  photographer  who  is 
desirous  of  advancing  in  the  art  should  also 
avail  himself  of  the  great  privilege  which  is 
born  of  the  free  interchange  of  ideas.  Al- 
though the  management  of  the  last  Conven- 
tion was  not  just  what  it  should  have  been, 
we  are  convinced  that  the  mere  assembling 
of  the  fraternity  stimulated  to  subsequent 
effort,  which  resulted  in  an  advance  in  the 
artistic  feeling  and  technical  excellency  of 
the  work  of  the  past  year. 

Photography  demands  a  freedom  in  the 
circulation  of  opinion,  and  this  circulation 
can  best  be  accomplished  by  the  Convention. 
What  glorious  prospect  we  have  for  the  ap- 
proaching P.  A.  of  A. !  Those  who  have 
the  management  under  control  have  inspired 
us  with  thorough  confidence,  and  we 
prophesy  a  grand  success.  Fail  not  to  at- 
tend. 


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196 


THE   PHILADELPHIA    PHOTOGRAPHER. 


SOME  OF  THE  BEAUTIES  OF 
DRY-PLATE  WORKING. 

BY  THOMAS    PRAY,    JR. 
(Concluded  from  p.  187.) 

With  the  coming  of  beautiful  weather, 
the  vacation  season,  and  the  increased  in- 
terest in  amateur  photography,  it  is  not 
unlikely  that  many  of  our  amateur  friends 
will,  during  the  present  summer,  meet  with 
some  of  the  obstacles  which  have  already 
been  enumerated.  If  each  one  would  keep 
a  careful  record  of  the  maker  of  the  plate, 
from  whom  they  were  purchased — and  one 
important  point  we  would  urge  upon  both 
"immature  "  and  professional,  examine  the 
appearance  of  the  plate  in  the  dark-room 
by  a  perfectly  safe  light  in  order  to  see  what 
may  sometimes  occur  there — make  record  of 
all  these  matters.  I  have  now  adopted  the 
practice  of  marking  every  plate  as  it  is  put 
into  the  holder,  with  certain  letters  for  each 
maker,  and  for  their  speed  of  plate  as  well 
as  the  number  of  emulsion.  Take  a  mod- 
erately hard  lead-pencil  (the  letters  and 
numbers  need  not  exceed  one-eighth  of  an 
inch  in  width),  make  them  on  the  very 
edge,  where  the  holder  protects  it  from  the 
light,  and  where  no  good  printer  ever  prints, 
before  it  is  exposed  ;  when  it  develops  the 
pressure  of  the  pencil  on  the  film  leaves  an 
indelible  record  and  a  permanent  one. 
Thus,  if  I  am  using  Carbutt's  special  I 
mark  the  plate  with  a  Faber,  No.  3,  medium 
blunt  point,  C.  S.,  1818,  or  whatever  the 
emulsion  may  be.  If  I  use  a  Cramer  plate, 
it  is  marked  C.  R.,  1521,  or  the  emulsion 
number.  If  I  use  the  English  plate  it  is 
marked  2N.  S.,  and  the  emulsion  number, 
a  scheme  of  these  numbers  being  prepared 
in  ink  and  nailed  up  in  the  dark-room  as 
well  as  in  the  negative-room,  for  with  three 
thousand  negatives  I  require  some  little 
space.  The  time  at  which  these  plates  are 
purchased  is  entered  in  a  record  book,  and 
note  books  of  exposure,  after  having  been 
used,  in  the  field,  where  they  are  filled  in 
with  a  pencil,  are  at  once  transferred  into 
what  is  growing  into  a  large  journal,  and 
every  entry  and  particular  are  made  in  ink, 
while  in  the  margin  I  enter  in  shorthand, 
any  peculiarities  of  observation.  "While 
this  requires  a  little  time,  it  is  invaluable 


for  reference,  particularly  when  the  pecu- 
liarities of  some  platemaker  have  brought 
out  disagreeable  experiences,  and  in  this 
way  there  is  no  possibility  of  making  any 
mistake  as  to  whose  plate  is  in  the  holder 
after  exposure. 

One  of  the  recent  and  most  disagreeable 
experiences  in  this  whole  dry-plate  working 
was  discovered  the  same  month  in  two  dif- 
ferent platemaker's  plates  of  recent  emul- 
sion, which  were  inquired  for  from  the 
stockdealers  as  expressly  for  a  test  in  the 
field.  On  one  of  these  plates,  which  is  not 
a  rapid  one,  Ave  found  on  examination, 
while  filling  the  holders,  some  dull  spots  on 
the  coated  side  which  were  quite  as  plain  as 
though  a  drop  of  water  had  been  allowed 
there.  These  spots  varied  in  size  from  that 
of  a  pinhead  up  to  nearly  an  eighth  of  an 
inch.  Three  boxes,  of  a  half  gross,  were 
opened,  marked  with  the  same  emulsion, 
the  plates  from  each  box  were  kept  care- 
fully separated  from  those  of  the  others,  and 
these  spotted  plates  were  only  found  in  one 
box  of  the  three.  These  were  carefully 
marked,  and  six  of  them  were  exposed  the 
same  day,  while  fifteen  of  the  other  twenty- 
four  were  also  exposed  the  same  day.  Upon 
development  a  peculiarity  in  the  slow  plate 
showed  itself  by  what  apparently  was  .a  de- 
cided weakening  of  the  film  at  the  point 
where  these  dull  spots  on  the  coating  of  the 
plates  were  noticed,  which  seriously  inter- 
fered with  the  printing  of  the  proposed 
negative.  On  the  fast  plates,  by  another 
maker,  spots  which  were  not  quite  so  ap- 
parent, but  which  were  perfectly  discerni- 
ble, gave  positively  clear  glass  after  devel- 
opment and  fixing.  Thinking  we  might 
be  alone  with  this,  no  mention  was  made  of 
it,  but  within  the  past  few  days,  in  speak- 
ing with  a  friend  of  ours  in  another  city, 
we  find  that  in  using  a  grade  of  instan- 
taneous plates,  which  are  beautiful  in  their 
detail  as  well  as  their  density,  he  had 
noticed  the  same  markings  only  after  he 
had  succeeded  in  making  several  beautiful 
plates,  and  found  he  had  to  turn  to  Gihon's 
opaque,  where  the  bare  places  were.  We 
gave  our  experience,  and  a  few  days  after 
leaving  him  he  wrote  us  that  on  examining 
the  box  from  which  the  negatives  he  had 
shown  us  came,  he  had  found  very  distinct 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


197 


markings  on  the  plates,  which  were  per- 
fectly kept  away  from  the  light,  but  which 
when  developed  and  fixed  gave  positively 
clear  glass  in  spots  which  looked  something 
like  a  rocket  or  meteor,  seeming  to  have  a 
nucleus  and  a  tail  following  it,  so  that  these 
spots  which  showed  on  the  emulsion  in  his 
dark-room  show  that  some  change  has  taken 
place,  or,  at  least,  whatever  the  cause  may 
be,  that  one  portion  of  the  plate  has  been 
acted  on  chemically  either  by  imperfectly 
cleaned  glass  or  imperfectly  mixed  emul- 
sion, or  some  other  reason  which  we  simply 
guess  at  but  do  not  know.  When  develop- 
ment acts  in  one  way  on  one  maker's  plate 
and  in  another  way  on  another's,  or  in 
either  case  furnishes  a  vast  amount  of  an- 
noyance to  the  person  who  has  spent  the 
time  to  find  a  pretty  piece  and  then  taken 
all  due  precaution  to  get  a  fine  negative, 
and  finds  when  his  negative  is  finished  and 
the  print  made  from  it,  that  he  has  pro- 
duced chemically  a  most  beautiful  piece  of 
work,  but  it  has  been  ruined  by  an  imper- 
fect plate. 

"We  hear  so  much  of  fast  plates  and  snap- 
shutter  exposures,  that  it  may  perhaps  be 
worth  while  to  refer  to  some  of  the  beauties 
of  this  kind  of  working.  In  arecent  showing 
of  a  number  of  snap-shutter  exposures  from 
which  transparencies  had  been  made,  it  was 
painfully  apparent  that  the  snap-shutter 
craze  is  bound  to  be  condemned  by  many  who 
are  seeking  for  perfection  in  photography. 
It  is  no  use  at  all  to  deny  the  fact  that  ex- 
cept a  very  large  lens  is  used  in  proportion 
to  the  plate,  and  a  most  decided  skill  ex- 
hibited in  the  development,  that  snap- 
shutter  exposure  pictures  frequently  show 
very  decided  leanings  towards  imperfect 
work,  and  if  we  attempt  to  bring  out  the 
outlines  of  a  ship,  a  horse,  or  a  locomotive, 
we  are  bound  to  destroy  something  else, 
and  to  fail  in  realizing  that  perfect  harmony 
which  makes  a  picture  that  is  always  a 
"thing  of  joy,"  etc.  In  many  of  these 
instantaneous  plates,  which  we  believe  are 
as  much  overrated  as  some  of  the  lenses  on 
the  market,  we  are  told  that  they  are  most 
uniform.  We  have  developed  with  suffi- 
cient intensity  and  clearness  to  give  every 
detail  and  all  the  modulation,  from  the 
plates  of  seven  different  makers,  which  we 


have  so  far  tested  ;  we  have  found  only  two 
that  were  equal  to  the  task,  and  not  more 
than  two  or  three  in  a  dozen  of  those  which 
would  give  us  a  good  snap-shutter  picture 
of  a  house,  with  sky,  trees,  some  shade,  and 
those   little    details   which    at   once   go   to 
make  up  a  complete  picture  and  a  fine  photo- 
graphic print.     In  other  cases  we  find  that 
unless  about  all  the  circumstance  are  pres- 
ent to  favor  the  exposure,  the  development 
is  long,  consequently  it  is  tedious,  and  in 
ten  out  of  twelve  cases  it  needs  a  good  deal 
of  blue  paint,  opaque,  or  what  is  frequently 
used,  black  asphalt  or  black  lead.     On  the 
other  hand  we  find  that  an  exposure  of  two, 
three,  or  four  seconds  with  a  lens  of  suffi- 
cient power,  gives  in  the  majority  of  cases 
a  negative  (if  the  development  is  properly 
managed)  that,  aside  from  some  of  the  diffi- 
culties we  have  enumerated,  is  beautiful  in 
all  its  modulations  and  surroundings,  sharp, 
clear,  and  crisp,  without  being  harsh.    And 
while  on  this   point,  we  believe  there  are 
two    single    things    which    militate    more 
against  the  amateur  photographer  than  all 
other  causes   except   imperfect   plates — the 
first  of  these  is  using  lenses  which  are  really 
overrated  or  using  a  lens  having  an  actual 
capacity  of  less  than  the  size  of  the  plate  and 
the  speed  of  exposure  ;    the   other  of  the 
two  points  is  that  of  underexposure,  which 
is  followed  by  protracted,  tedious,  and  un- 
certain  development.      Some    experiments 
upon  this  point  would  be  very  interesting, 
and  while  the  article  may  perhaps  be  hard 
upon  some  of  the  dry-plate  makers'  failings 
or  foibles,  let  it  be  understood  that  with  the 
increasing    enthusiasm    among   those    ama- 
teurs who  really  enjoy  a  good  negative  and 
delight   to  see  beautiful   prints  made  from 
their  own  work,  and  many  of  whom  have 
adopted  the   same   rule   that  we   ourselves 
have  done,  viz.,  that  of  never  allowing  any 
retouching,  painting  out,  fixing,  or  dodg- 
ing a  negative,  it   becomes   somewhat   ex- 
pensive  to   buy    plates    which    have   been 
hypo-struck,  or  the  emulsion  on  which  has 
been  scratched  by  particles  of  glass  by  the 
careless  packing,  and  it  is  exceedingly  pro- 
voking, too,   to  take  out  plates  which  are 
nearly  a  quarter  of  an  inch  thick,  and  vary- 
ing all  the  way  down  to  that  of  a  fine  crys- 
tal glass,  not  much  thicker  than  a  watch 


198 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


crystal.  The  thick  glass,  thin  glass,  crumbs 
of  glass,  and  bubbles,  to  say  nothing  of  the 
aggravation  of  plates  which  vary  from  one- 
sixteenth  of  an  inch  wider  at  one  end  than 
your  holder,  to  an  eighth  of  an  inch  wider 
at  the  other  end,  with  no  possibility  of  your 
changing  just  as  you  are  ready  to  leave  for 
a  trip — these  are  things  that  the  average 
man  does  not  look  at  with  complacency. 

"We  will  say  a  few  words  as  to  the  uneven- 
ness  of  coating.  We  have  lately  opened  a 
box  of  plates  from  one  of  the  best  makers, 
where  the  emulsion  is  entirely  lacking  for  a 
quarter  to  five-eighths  of  an  inch,  where  it 
has  been  floated  on  at  one  end,  and  is  twice 
or  three-  times  as  thick  as  the  other,  while 
on  the  other  side  of  the  plate,  which  should 
be  approximately  clean,  there  is  emulsion 
enough  to  cover  the  bare  part  of  the  emul- 
sion side  six  times  over,  perhaps  more. 
We  have,  in  a  previous  article,  referred  to 
the  fact  that  emulsion  makers  have  seemed 
to  study  for  the  last  fifteen  or  sixteen 
months  what  the  least  possible  amount 
of  emulsion  was,  and  at  the  same  time  to 
obtain  portrait  softness  rather  than  the 
proper  amount  of  contrast.  The  uneven- 
ness  of  coating  is  one  of  the  things  that  the 
amateur  should  not  tolerate ;  one  side  of 
the  plate  develops  thicker  or  denser  than 
the  other,  and  if  we  attempt  to  correct  the 
development  upon  the  off  side,  so  to  speak, 
to  that  point  to  equal  the  heavy  side  or 
dense  side,  we  shall  get  one  of  two  results, 
a  harsh  plate  on  one  side  of  the  picture  and 
a  very  weak,  overdeveloped  plate  on  the 
other,  and  while  upon  the  amateur  work 
an  experiment  was  made  upon  this  very 
point,  while  the  writer  was  living  in  Boston, 
in  which  four  different  members  of  the 
Boston  Amateur  Society  joined,  in  which 
different  plates  were  used  by  the  same  party, 
consisting  of  four  persons,  on  the  same  sub- 
jects, the  same  day,  with  different  lenses, 
the  development  was  then  completed  and  a 
comparison  made.  The  plates  of  three,  if 
not  four,  different  makers  were  used,  taken 
from  stock,  and  the  plates  of  an  amateur,  a 
Mr.  George  Fqwler,  of  Boston,  were  used 
in  addition  to  the  plates  from  two  regular 
makers.  5x8  plates  were  used  in  all  cases 
and  everything  from  an  instantaneous  plate 
down  to  one  as  slow  as  was  in  the  market. 


The  finest  negatives  obtained  in  that  day's 
trial  were  from  plates  coated  by  my  friend 
Fowler  upon  glass  which  had  previously  been 
used,  some  negatives  of  which  I  still  have, 
and  they  are  among  the  most  brilliant  in  my 
whole  collection  The  amount  of  emulsion 
on  these  plates  was  double  that  which  any 
platemaker  at  this  time  was  putting  on,  and 
we  should  judge  that  it  was  three  or  four 
times  as  much  as  that  which  is  put  upon 
some  of  the  very  fast  plates  of  to-day.  If 
we  remember  aright,  Mr.  Fowler  used  two 
drachms  on  a  5x8  plate,  and  the  cost  of 
emulsion  amounted  to  some  two  or  three 
cents  even  with  that  amount. 

But  to  return  to  the  chemical  part  of  the 
question,  a  little  surplus  emulsion  gives  a 
plate  which  with  proper  exposure  and  de- 
velopment will  shut  out  all  of  the  weak  film 
discolorations,  shown  by  printing  upon  sen- 
sitized paper,  and  will  give  a  sky  which 
shall  approximate  to  the  sky  under  which 
we  are  waiting,  that  of  a  clear  blue,  and 
will  give  it  a  sufficiently  high  light  so  that 
a  person  would  not  mistake  the  sky  in  the 
picture  for  the  lawn,  and  perceive  his  mis- 
take only  when  he  finds  that  he  has  the 
house  or  horse  wrong  side  up.  There  is  one 
point  connected  with  this,  which  it  may  be 
of  interest  to  amateurs  to  notice.  In  the 
annual  address  of  the  President  of  our  New 
York  Society  of  Amateur  Photographers, 
we  notice  a  question  which  has  been  raised 
a  thousand  times  in  our  own  experience,  viz., 
"  That  of  sensitizing  paper  so  as  to  obtain  a 
purple-toned  print."  The  average  "in- 
stantaneous views,"  lightning  express,"  and 
various  other  names  for  the  quick  plates, 
are  no  more  capable  of  producing  a  print 
which  can  be  toned  a  fine  lilac-purple  than 
they  are  capable  of  exposure  five  minutes 
in  bright  daylight  and  development.  But 
with  such  a  plate  as  we  have  spoken  of, 
made  by  our  amateur  friend,  where  there  is 
a  density  which  does  not  approach  harsh- 
ness, we  can  print  until  the  shadows  are 
bronze,  and  then  by  proper  washing  and 
toning,  make  a  beautiful  purplish-lilac  tone, 
which,  so  far  as  our  own  experience  goes,  is 
most  desired  by  every  one,  and  which  can- 
not be  obtained  by  any  snap-shutter  nega- 
tive we  have  ever  printed  from  or  have 
ever  seen. 


THE    PHILADELPHIA    PHOTOGKAPHEP. 


199 


In  the  making  of  transparencies,  there  is 
another  point  to  which  we  shall  call  the 
attention  of  amateurs.  We  lately  made 
from  a  Carbutt  A  plate,  or  the  old-fashioned 
transparency  plate,  and  from  the  Anthony 
transparency  plate,  some  lantern  slides, 
which  were  sent  abroad.  These  slides  were 
both  made  from  a  collodion  negative  of  a 
photomicrograph  ;  they  were  developed  in 
pyro,  and  they  came  as  black  as  black  could 
be,  while  the  high  lights  were  absolutely 
clear  glass.  The  plates  were  taken  from 
the  same  box  of  each  maker's  plates,  ex- 
posed under  the  same  part  of  a  negative,  for 
the  same  length  of  time  in  the  same  light, 
as  nearly  as  possible,  both  are  negatives 
which  were  properly  developed  from  a 
medium  slow  plate,  and  also  from  snap- 
shutter  plates,  neither  one  of  which  ap- 
proximates in  clearness,  or  in  density,  or 
color  to  the  transparencies  made  from  the 
collodion  plate.  The  snap-shutter  pictures 
if  the  objects  were  properly  brought  out  on 
the  transparencies,  were  discolored  in  the 
high  light,  what  should  have  been  clear 
glass. 

This  may  answer  the  question  of  amateurs 
as  to  why  they  don't  get  brilliant  transpar- 
encies; taking  the  medium  slow  plate  with 
proper  density,  a  better  print  can  be  ob- 
tained without  using  several  thicknesses  of 
paper, '  without  any  blue  paint  dodges, 
without  painting  out  by  opaque,  etc.  Ex- 
amine carefully,  therefore,  your  plates,  and 
if  you  find  them  unevenly  coated,  take  them 
back.  Hypo  streaks  we  have  referred  to ; 
some  new  experience  has  recently  come  to 
us  in  which  streaks  have  been  found  in  dif- 
ferent parts  of  the  plate,  and  very  recently 
we  showed  a  plate  in  which  the  mat  had 
become  cockled  or  twisted,  and  several 
dozen  plates  packed  up  one  on  top  of  the 
other,  and  a  streak  varying  fron  three- 
eighths  to  five-eighths  of  an  inch  in  width, 
and  of  exactly  the  form  of  the  twisted  mat, 
was  pronounced  by  quite  a  number  of  those 
who  saw  it  to  be  from  floating  on  the  pyro 
in  development.  The  fact  was  not  at  that 
time  stated  that  the  plate  in  question  was  de- 
veloped by  plunging  into  one  of  Anthony's 
glass  baths,  just  as  we  plunged  the  collo- 
dion plate  to  sensitize  it.  The  development 
in  this  case  was  carried  on  by  a  Carbutt 


lantern  set  beside  the  bath  until  we  could 
perceive  the  figure  through  the  plate.  Two 
points  were  accomplished,  the  plates  in 
question  required  but  a  very  small  amount 
of  pyro  and  soda  to  the  ounce,  the  develop- 
ment was  carried  as  far  as  it  could  be,  and 
the  hypo  stain  was  one  of  the  most  promi- 
nent traits  developed. 

There  are  so  many  points  upon  which  in- 
formation has  been  sought,  and  the  article, 
which  was  first  written  only  for  a  single 
number,  has  so  far  exceeded  our  own  ex- 
pectations, and  it  still  falls  so  far  short,  in 
more  than  one  of  the  difficulties  which  are 
found,  that  we  may  as  well  rest  for  the 
summer,  at  least,  as  to  carry  them  further. 
The  idea  has  been  to  obtain  information, 
which  has  been  expensive,  and  the  few 
points  which  have  been  given  in  these  arti- 
cles have  been  gathered  from  an  experience 
of  fully  four  years,  from  the  carrying  of 
cameras  from  a  half  plate  to  14  x  17,  prob- 
ably twenty-five  thousand  miles  ;  and  as  we 
close  this  article,  engagements  have  been 
made  to  follow  out  certain  experiments 
during  the  summer,  which  may  form  the 
basis  of  an  interesting  article  in  the  future, 
if  the  publisher  of  the  Philadelphia 
Photographer,  and  his  kindly  disposed 
aid,  shall  consider  them  worthy  of  the  space. 
Meantime,  it  is  the  writer's  hope  that  ama- 
teurs or  others  may  put  on  record,  not  only 
the  difficulties  they  find  in  dry  plate  work- 
ing, but  any  suggestions  which  they  may 
be  able  to  make  from  chemical  information 
or  experience,  for  we  have  received  a  num- 
ber of  letters  with  reference  to  the  first  two 
articles  from  platemakers,  asking  us  to  ex- 
periment and  report,  for  they  are  as  anxious 
to  surmount  these  difficulties,  if  not  more 
so,  than  the  amateur  is  to  have  it  done. 
Reference  has  not  been  made  to  the  maker 
of  any  particular  plate,  and  we,  with  justice 
to  ourselves,  say  that  we  have  never  ex- 
posed a  plate  furnished  to  us  gratuitously 
by  any  stockdealer  or  platemaker,  and  are 
under  no  obligations  to  either  party  in  any 
way,  nor  have  we  any  preferences  or  preju- 
dices; the  idea  has  been  to  arrive  at  the  fact 
for  the  benefit  of  a  very  intelligent  class  of 
men  who  devote  a  large  amount  of  money 
each  season,  to  what  has  resulted  in  some  of 
the  most  important  improvements  in  pho- 


200 


THE    PHILADELPHIA    PHOTOGRAPHER 


tography,  as  well  a  vast  deal  of  pleasure  to 
themselves. 


DR.  PASSAV ANT'S  LECTURE  ON 
CARBON  PRINTING. 

Gentlemen  :  I  shall  this  evening  en- 
deavor to  show  you  the  practical  workings 
of  the  carbon  process.  In  the  first  place,  I 
desire  to  say  that  carbon  printing  is  a  very 
simple  and  easy  process.  It  is  within  the 
reach  of  you  all,  and  though  there  are  many 
details  connected  therewith,  each  of  these 
details,  when  understood,  is  simplicity  itself. 

First,  as  to  the  tissue.  This  is  an  article 
of  commerce,  and  may  be  obtained  from 
Anthony,  of  New  York,  or  from  various 
European  makers.  The  tissue  obtained 
from  Anthony  prints  remarkably  fast. 
This  may  be  due  to  our  clear  actinic  atmos- 
phere and  light,  as  I  have  not  yet  been 
able  to  compare  this  tissue  with  the  Ger- 
man-made tissue  which  I  have  been  in  the 
habit  of  using.  The  tissue  may  be  obtained 
in  several  different  colors.  For  our  use  the 
black  and  warm  brown  will  be  found  the 
best. 

Before  sensitizing,  the  tissue  may  be  kept 
for  an  indefinite  time,  care  being  taken  to 
keep  it  from  moisture.  After  sensitizing  it 
will  not  keep  good,  generally,  for  over  forty- 
eight  hours.  It  is  true,  in  some  instances, 
I  have  succeeded  in  obtaining  good  prints 
on  tissue  four  or  five  days  old,  but  it  cannot 
be  depended  upon.  The  best  way  is  to  sen- 
sitize the  evening  before  using. 

Make  a  solution  of  bichromate  of  potash 
from  two  to  five  per  cent,  strong ;  add  from 
0.001  to  0.005  of  carbonate  of  ammonia. 
This  must  be  used  cold,  and  will  keep,  and 
may  be  used  for  a  long  time  ;  of  course,  it 
will  gradually  become  weaker.  If  you  have 
thin  negatives  to  print  from,  use  s»  strong 
solution;  that  is  to  say, a  solution  from  four 
to  five  per  cent,  strong  of  the  bichromate. 
If,  however,  the  negatives  are  hard,  use 
not  over  two  per  cent,  of  the  bichromate. 
Always  bear  in  mind  the  stronger  the  solu- 
tion the  softer  the  prints,  and  vice  versa. 
Now,  immerse  your  tissue,  face  up,  in  the 
solution.  Look  out  for  air  bubbles,  and  if 
they  appear  have  a  camel's-hair  brush 
ready,   and    brush    them   off.     The    tissue 


should  be  floated  from  three  to  four  min- 
utes. This  may  be  done  in  subdued  day- 
light, as  the  tissue,  when  wet,  is  quite  in- 
sensitive. In  taking  tissue  from  the  bath 
draw  it  over  a  glass  rod.  [Mr.  Gibbs  here 
remarked  that  he  always  laid  the  tissue 
down  on  a  piece  of  glass  and  used  a 
squeegee  to  remove  the  superfluous  moist- 
ure.] The  tissue  is  now  sensitized,  and  it 
must  be  hung  up  to  dry  in  the  dark.  Hang 
it  up  with  clips,  the  same  as  silver  paper. 
It  must  dry  spontaneously,  and  not  too 
rapidly.  From  eight  to  ten  hours  is  not 
too  long. 

The  tissue  is  now  ready  to  print.  As  to 
exposure,  no  exact  time  can  be  given.  It 
will  print  from  four  to  six  times  as  fast  as 
silver  paper.  A  photometer  may  be  used, 
but  after  a  little  experience  this  will  not  be 
necessary.  The  print  which  I  will  now 
develop  had  an  exposure  of  one  minute  and 
fifteen  seconds,  under  a  rather  thin  nega- 
tive in  direct  sunlight.  The  negative 
printed  from  should  always  be  masked,  so 
that  the  light  will  not  creep  under  the 
edge  of  the  tissue  and  spoil  the  picture.  If 
you  wish  a  strong  print,  print  in  the  sun ; 
if  a  soft  one,  print  in  the  shade. 

So  far,  the  operations  have  been  the  same 
for  both  double  and  single  transfer.  I  will 
now  illustrate  the  double  transfer  process. 
Take  a  clean  piece  of  glass,  a  little  larger 
than  the  tissue  to  be  developed.  Flow  the 
plate  with  a  solution  of  benzine  and  yellow 
wax.  The  wax  must  be  pure  and  not  mixed 
with  tallow  or  other  foreign  substances.  "Use 
one  part  wax  to  about  one  hundred  and  fifty 
parts  benzine.  The  solution  must  be  pre- 
pared two  or  three  days  beforehand,  and 
must  be  filtered  until  perfectly  clear.  Let 
the  plate  dry  for  a  minute  or  so,  and  then 
take  a  piece  of  old  flannel  and  rub  the  plate 
in  a  circular  direction.  Do  not  rub  so  hard 
that  all  the  wax  is  taken  off,  but  rub  lightly, 
till  the  glass  loses  its  ground-glass  appear- 
ance and  looks  like  ordinary  polished  or 
clean  glass.  Now  flow  the  glass  with  plain 
collodion.  The  collodion  must  not  be  too 
new  ;  about  a  week  old  will  do.  When  the 
collodion  is  dry  enough  to  be  no  longer 
"tacky,"  immerse  the  plate  in  a  tray  of 
cold  water.  Now  place  the  piece  of  ex-  ■ 
posed  tissue  in  another  tray  of  cold  water, 


THE    PHILADELPHIA    PHOTOGEAPHEB. 


201 


and  allow  it  to  remain  until  it  lies  perfectly 
flat  and  gets  a  little  soft.  Take  the  plate 
out  of  the  water  and  lay  it,  face  up,  on  a 
flat  table.  The  plate  must  be  perfectly  wet 
and  show  no  streaks.  Lay  the  tissue  face 
down  on  the  plate.  Cover  the  tissue  with 
a  thin  piece  of  rubber  cloth  and  rub  it  flat 
upon  the  glass,  using  a  broad  squeegee,  and 
being  particularly  careful  that  the  tissue  is 
rubbed  down  perfectly  smooth,  and  that  all 
the  air  bubbles  have  been  rubbed  out.  Let 
the  plate  stand  from  five  to  ten  minutes,  or 
until  the  tissue  has  had  time  to  set. 

Now  immerse  the  plate  in  a  tray  of  warm 
water,  about  100°  F.  In  about  a  minute 
you  can  easily  lift  one  corner  of  the  tissue 
from  the  plate.  Pull  off  the  tissue  slowly 
and  gently.  The  plate,  as  you  now  see, 
is  covered  with  a  thick,  black  film.  Rock 
the  tray  gently,  but  do  not  touch  the  body 
of  the  plate.  As  you  see,  the  black  film  is 
gradually  washing  away  in  the  soluble 
parts,  leaving  the  developed  picture  on  the 
plate. 

The  picture  is  now  developed,  and,  though 
somewhat  underexposed,  will  do  for  our  pur- 
poses this  evening.  The  plate  being  devel- 
oped, is  now  washed  in  cold  water,  and 
after  that  in  a  three  per  cent,  solution  of 
chrome  alum,  and  then  washed  again  in 
cold  water.  "We  have  now  on  the  face  of 
the  glass  a  reversed  positive.  If  we  were 
making  lantern  slides  we  would  not  have  to 
proceed  any  further,  as  simply  reversing  the 
glass  gives  us  a  correct  positive.  What  we 
now  desire  is  to  get  a  correct  positive  on 
paper.  We  will  proceed  as  follows :  First, 
we  must  prepare  our  double  transfer  paper. 
This,  I  believe,  is  an  article  of  commerce, 
though  I  always  prepare  it  for  my  own  use. 
Float  ordinary  "  Eive  "  or  "Saxe"  paper 
on  a  bath  composed  of  100  parts  of  water, 
10  parts  of  gelatine,  1  to  2  parts  of  glycerine, 
and  10  cubic  centimetres  of  a  saturated  so- 
lution of  chrome  alum.  The  water,  gela- 
tine, and  glycerine  are  first  heated  and  the 
alum  then  added. 

I  have  in  my  hand  a  piece  of  the  double 
transfer  paper,  which  I  immerse  in  a  tray 
of  lukewarm  water,  letting  it  remain  about 
thirty  seconds.  Now  take  the  developed 
plate  from  the  washing  water,  lay  it  on  the 
table,  and  apply  a  piece  of  double  transfer 


paper  using  the  rubber  cloth  and  squeegee 
as  before.  Now  lay  the  plate  by  and  let  it 
dry  spontaneously.  As  this  will  take  some 
hours,  and  as  I  desire  to  explain  the  whole 
process,  I  have  brought  a  plate  along  with 
me  already  to  strip.  We  will  suppose, 
then,  that  the  plate  and  paper  have  become 
perfectly  dry.  Take  a  sharp  knife  and  run 
it  along  under  the  paper  around  the  edge  of 
the  plate,  so  as  to  loosen  the  collodion. 
Now  gently  strip  the  paper  from  the  plate. 
The  paper,  as  you  see,  takes  with  it  the  de- 
veloped print,  collodion,  and  all,  and  the 
result  is  a  beautifully  enamelled,  finely 
toned,  and  brilliant  carbon  print. 

If  you  prefer  a  mat  surface,  you  may  use 
ground  glass  and  omit  the  collodion,  using 
merely  the  wax  solution.  As  the  single 
transfer  process  on  paper  is  rarely  used  by 
amateurs,  so  few  of  them  taking,  or  caring 
to  take,  reversed  negatives,  and,  as  it  is 
getting  rather  late,  I  will  not  now  take  the 
time  to  go  into  that  process  at  length.  It 
is  very  simple,  however,  after  learning  the 
double  transfer.  The  tissue  is  transferred 
directly  from  the  washing  water  to  the 
paper,  and  then  developed  in  the  same  way 
as  before.  The  single  transfer  paper  is  pre- 
pared by  flowing  the  paper  with  a  solution 
made  as  follows  :  Three  parts  of  shellac,  1 
part  of  borax,  and  30  parts  of  water.  I  will 
close  by  pointing  out  a  few  of  the  difficulties 
that  you  will  probably  have,  and  the  cure 
therefor  : 

The  gelatine  flows  off  the  tissue.  Reason  : 
The  temperature  in  drying  has  been  too  high, 
or  the  chrome  alum  solution  too  strong. 

The  tissue  will  not  come  in  contact  with 
the  negative,  or  cracks.  Reason :  Tissue 
has  been  dried  too  quickly. 

The  wax  on  the  glass  plate  does  not 
polish.  Reason:  The  plate  is  too  cold,  the 
wax  impure,  or  the  flannel  damp. 

The  tissue  does  not  adhere  to  the  plate, 
or  the  edges  raise.  Reason  :  Overexposure, 
tissue  too  long  in  water.  May  oftentimes 
be  rectified  by  putting  a  weight  on  the 
plate. 

Air  bubbles  on  the  back  of  the  tissue. 
Reason  :  Water  too  hot. 

Collodion  film  cracks.  Reason  :  Collodion 
too  fresh. 

Numerous   little   cracks   in   the   picture. 


202 


THE   PHILADELPHIA    PHOTOGRAPHER. 


Reason  :  Tissue  too  long  in  chrome  alum 
bath,  or  chrome  bath  too  warm. 

The  picture  has  a  network  appearance. 
Eeason  :  Tissue  not  long  enough  in  cold 
water,  or  not  long  enough  in  contact  with 
the  transfer  plate,  or  the  tissue  may  have 
been  dried  too  quickly.  If  this  be  the  case, 
coat  the  tissue  with  thin  collodion. 

Cloudy  appearance  in  picture.  Eeason  : 
The  alcohol  in  the  collodion  was  not  pro- 
perly washed  out. 

Film  frills  in  developing.  Reason :  Water 
too  hot. 

These  are  a  few  of  the  many  things  you 
will  have  to  overcome,  but  a  few  trials  will 
teach  you  how  to  conquer  them. 


RIVER  SCENERY. 

BY    XANTHUS    SMITH. 

At  this  season  of  approaching  holidays, 
and  when  amateurs  are  fitting  themselves 
out  for  photographic  campaigns,  more  or 
less  extended,  a  few  remarks  upon  choice 
of  landscape  subjects  may  not  come  amiss. 
Those  who  are  more  ambitious  than  to  be 
satisfied  with  mere  bits  or  parts  of  pictures, 
and  have  another  end  in  view  than  simply 
taking  views  of  places  interesting  on  account 
of  associations  only,  and  not  as  pictures, 
will  find  river  scenery,  where  the  country  is 
hilly,  particularly  adapted  for  agreeable, 
extended  views.  The  rolling  hills,  islands, 
strips  of  projecting  shore,  constantly  vary- 
ing with  the  bends  of  the  river,  fine  groups 
of  trees,  and  foreground  rocks,  embody  the 
essentials  of  fine  landscape  compositions. 
Subjects  of  this  kind  are  suitable  almost 
solely  for  horizontal  views,  and  often,  of  a 
long  proportion,  the  5  x  8,  for  instance,  so 
much  used,  though  the  5x7  size  will  fre- 
quently give  more  agreeable  results,  as  it  is 
difficult,  generally,  to  extend  a  view  very 
far  both  to  the  right  and  left  without  getting 
something  unessential  to  the  picture,  and 
tending  to  distract  the  attention  from  the 
main  features.  Strive  to  get  a  good  mass 
on  either  one  side  or  the  other  of  the  sub- 
ject, and  do  not  let  it  extend  far  enough 
into  the  picture  to  cut  off  too  much  of  the 
distance,  if  the  latter  is  good.  If  there  should 
be  so  much  of  interest  in  a  side  group  that 
you  must  extend  it  very  far  across  the  plate, 


make  it  the  subject,  sacri Being  the  rest. 
When  you  have  a  fine  side  group  of  trees 
with  a  good  profile,  an  agreeable  combina- 
tion of  curves,  straight  passages,  and  angles, 
for  instance,  do  not  cut  the  top  off  it,  but  let 
some  sky  appear  above,  by  retiring  further ; 
or  if  this  is  not  practicable,  using  a  wider 
angle  lens.  In  other  instances,  where  there 
is  a  high  blank  wall  of  uninteresting  or 
monotonous  foliage,  with  a  very  interesting 
passage  of  stems  underneath,  then  advance 
closer,  cut  off  much  of  the  top,  and  aim  for 
one  of  those  pretty  compositions  in  which  a 
passage  of  distance  is  seen  beneath  over- 
hanging or  overspreading  boughs.  Water 
willows  form  some  of  the  best  material  for 
such  subjects,  with  their  gnarled,  knobby, 
and  twisted  stems,  with  deeply  cleft  bark, 
and  long,  extended  limbs,  often  broken 
down  and  lying  partly  or  wholly  upon  the 
ground.  It  is  generally  a  gain  rather  than 
a  loss  with  them  to  cut  off  the  upper  foliage, 
as  its  want  of  separation  into  masses,  its  fine 
leafage  and  yellowish-green  in  early  spring, 
and  decidedly  yellow  color  late  in  the  season, 
and,  above  all,  its  susceptibility  to  motion 
from  the  least  wind,  make  it  a  risky  thing 
to  manage.  The  deep,  quiet  passages  of 
shadow  cast  upon  the  earth  under  spreading 
trees  give  breadth  and  effect  to  a  subject, 
and  when  it  happens  that  a  stump,  or  rock, 
or  cow,  or  some  such  object  can  be  relieved 
in  high  light,  by  being  a  little  nearer  and 
cutting  against  such  mpss  of  shadow  the 
effect  is  greatly  heightened.  There  is  no 
kind  of  accessory  better  suited  to  meadow 
scenes  under  willows  than  groups  of  cows. 
They  so  thoroughly  belong  to  the  subject, 
and,  on  account  of  forming  points  of  deep 
shadow  and  high  light,  give  not  only  bril- 
liancy and  effect  to  the  picture,  but  the  in- 
terest that  life  always  gives. 

One  of  the  great  drawbacks  in  landscape 
photography  is  often  the  barrenness  of  the 
foreground.  Many  a  good  subject,  where 
there  is  a  good  distance  and  side  group,  falls 
flat  because  there  is  nothing  to  give  interest 
to  the  foreground.  In  such  cases  it  will  be 
found  well  worth  while  to  seize  upon  any- 
thing suitable  within  reach  which  can  be 
rolled  or  dragged  into  a  position  to  form  a 
point,  and  carry  round  the  composition.  A 
fallen  limb,  loose  stump,  stones,  or  an  old 


THE    PHILADELPHIA    PHOTOGKAPHE  R. 


503 


fence  post  even,  will  be  better  generally 
than  nothing. 

A  considerable  amount  of  atmosphere  will 
be  found  of  advantage  in  extended  river 
scenes,  as  it  separates  different  passages, 
causing  the  more  distant  to  recede,  thereby 
adding  to  the  look  of  perspective  or  retiring 
of  the  distance;  and,  moreover,  it  gives 
mystery,  which  is  an  agreeable  quality  in 
art.  There  may  be,  for  instance,  a  factory, 
furnace,  or  group  of  ice  houses,  or  other 
such  commonplace  structures,  with  par- 
tially surrounding  trees,  upon  a  middle  dis- 
tance, or  distant  point  of  land  running  into 
the  river,  which,  if  a  good  deal  obscured  by 
atmosphere  or  shadow,  as  in  the  morning 
and  evening,  when  the  sun  is  low,  will 
make  fine  points  to  give  firmness  in  a  com- 
position, their  direct  lines  and  flat  masses 
contrasting  nicely  with  the  rounded  foliage, 
and  which,  if  lighted  up  by  a  noonday  sun 
and  robbed  of  all  atmosphere,  would  yield 
up  as  completely  all  their  commonplaceness 
and  actuality  as  to  destroy  the  sentiment  of 
a  picture.  It  is  of  great  advantage  to  have 
calm,  or  very  nearly  calm,  water,  the  re- 
flecting of  passages  of  deep  shadow  prevent- 
ing too  sharp  cutting  of  shore  lines,  and  also 
removing  the  difficulty  of  the  whole  water 
in  the  picture  being  a  cut  out  light  patch  of 
equal  brightness  all  over.  It  is  a  fortunate 
time  if  water  can  be  got  perfectly  calm  under 
hills  or  rocky  bluffs,  with  their  deep,  quiet 
reflections  underneath,  and  streaked  by  puffs 
of  air,  causing  strips  of  bright  light  making 
it  appear  more  level.  Boats  or  skiffs  are  a 
great  improvement  in  water  scenes  if  they 
happen  to  be  in  a  fortunate  position.  In 
the  middle  distance  they  measure  the  size 
of  the  scene,  by  comparison  and  as  fore- 
ground features,  with  their  deep  touches  of 
shadow  form  good  points  of  interest,  but 
will  always  be  preferable  if  not  full  side 
view  or  directly  end  on. 

There  is  nothing  so  delights  a  true  lover 
of  nature  as  an  excuse  for  a  ramble  along 
the  shore  of  a  large  stream  or  river,  especi- 
ally in  the  morning  or  evening,  when  nature 
puts  on  her  choicest  charms. 


MODERN  DRY  PLATES. 

Our  position  at  the  World's  Exposition 
has  enabled  us  to  make  some   very  careful 


studies  of  dry-plate  work,  and  our  readers 
shall  presently  share  the  benefit  thereof, 
when  we  shall  conclude  our  experiments 
and  observations.  We  are  all  the  time 
in  correspondence  with  dry-plate  workers, 
and  get  from  them  some  very  amusing 
and  interesting  letters.  One  correspondent, 
whom  we  combated  with  a  long  time, 
trying  to  get  him  to  take  up  dry-plate 
work,  is  now  one  of  the  most  sanguine 
operators  of  the  new  process,  and  yet  some- 
times he  is  puzzled  to  know  how  to  get  along 
with  it.  Here  is  what  he  writes  in  a  recent 
letter:  "Here  I  am,  developing  my  recent 
exposures.  It  ties  me  down  considerably, 
but  I  love  it,  and  the  new  dodges  and 
wrinkles  that  come  to  me  every  day  make 
it  interesting,  and  help  the  good  work  on, 
for  photographing,  such  as  I  have,  is,  I 
think,  the  noblest  work  I  ever  put  my  hand 
to,  though  I  sometimes  feel  inclined  to 
secure  larger  results,  irrespective  of  bread 
and  butter.  For  the  present,  however,  I 
shall  be  content  with  my  stereoscopic  camera, 
for  I  know  there  is  no  other  work  that 
would  content  me.  I  can  see  more  to  take 
every  day  than  would  occupy  me  a  lifetime, 
though  I  should  grow  as  old  as  Methuselah. 
I  am  of  your  opinion  to  the  core,  that  too 
quick  plates  are  not  best  for  my  work  for 
many  subjects.  I  like  a  good  quick  plate, 
but  not  the  quickest,  for  when  I  get  a  full 
exposure  with  one  two-hundredth  part  of  a 
second,  then  the  plate  is  too  quick,  and  I 
have  even  had  to  use  a  restrainer  when  de- 
veloping such  plates.  In  such  cases  I  do 
not  get  as  good  results  as  I  desire.  The  old 
ISTo.  25  Inglis  plate  I  prefer.  I  have  had 
some  that  I  have  carried  several  thousand 
miles  within  the  last  two  years ;  I  recently 
exposed  a  lot  of  them,  and  they  turned  out 
honest  and  true.  I  did  not  miss  a  single  plate 
out  of  three  dozen  exposures  made,  every- 
thing coming  out  just  as  I  saw  it  with  my 
eyes  and  upon  the  ground  glass.  The  nega- 
tives are  worth  their  weight  in  gold,  al- 
though they  have  crossed  the  ocean  twice. 
I  hope  all  the  manufacturers  will  not  aim 
entirely  at  quickness.  Yery  pretty  plates 
are  secured  for  the  eye,  but  the  printing 
quality  does  not  come  up  to  time.  I  have 
been  very  much  deceived  and  disappointed 
in  this  direction,  for  some  plates  that  pleased 


204 


THE    PHILADELPHIA    PHOTOGBAPHEE. 


me  exceedingly,  turned  out  to  be  very  bad 
printers  when  developed.  I  am  sometimes 
led  away  in  my  enthusiasm  by  the  detail 
which  I  see  in  my  plates,  forgetting  that  a 
good  deal  of  this  will  be  lost  in  printing. 
I  wish  I  never  had  to  make  a  paper  print. 
I  like  quick  plates  for  studio  work,  and  do 
not  think  there  is  anything  that  I  cannot  do 
with  them.  I  only  want  them  for  moving 
subjects,  for  a  quarter  of  a  second  is  as  short 
a  time  as  I  want  in  nine  out  of  ten  of  my 
exposures  out  of  doors.  With  a  dry  plate 
that  will  work  in  that  time,  I  feel  that  I 
know  what  I  can  do.  A  medium  quick 
plate  with  thunder  and  lightning  for  con- 
trast is  all  that  is  required — not  too  much 
contrast  between  the  thunder  and  lightning, 
either." 

"Will  not  some  of  our  readers  give  us  their 
experience  in  printing  dry  plates  ? 


GERMAN  CORRESPONDENCE. 

Amateur  Photography,  Amateur  Lenses — Iso- 
chromatic  Processes — Application  of  Aza- 
line  Plates  J  or  Different  Purposes — Yelloio 
Glass  and  Isochroma.tic  Photography  taken 
without  Yelloio  Glass — Reversed  Negatives 
ivith  Azaline  Plates. 

Amateur  photography  is  gaining  here 
more  and  more  importance.  The  dry  plate 
has  broken  the  way,  and  photographic  in- 
dustry follows.  A  great  drawback  to  its 
progress  was  hitherto  the  procuring  of  the 
requisite  apparatus,  which  demanded  a  con- 
siderable outlay,  especially  the  lenses.  The 
amateur  had  recourse  to  opera  glass  lenses 
and  such  contrivances  to  supply  his  needs, 
but  now  extremely  cheap  lenses  can  be  had. 
There  is  a  firm  (Busch)  that  supplies  them 
to  the  trade  for  covering  a  5  x  7  plate  at 
the  low  price  of  $1.90. 

Our  amateurs,  by  the  by,  are  becoming 
more  ambitious  than  they  used  to  be.  They 
are  no  longer  satisfied  to  take  landscapes 
and  groups  ;  they  are  also  desirous  of  taking 
colored  objects.  Since  the  introduction  of 
azaline  plates  the  subject  has  not  been  at- 
tended with  those  difficulti-es  which  previ- 
ously beset  it.  Because  the  dry  plate  is  daily 
conquering  new  fields,  it  does  not  follow  that 
the  wet  process  is  entirely  superseded  by  it. 
On  the  contrary,  our  great  Reproduction  In- 


stitute still  employs  it,  and  the  importance 
in  which  the  color-sensitive-collodion-eosin 
process  is  held  by  it  is  shown  by  the  recent 
photographs  taken  at  Brunswick,  which  are 
now  on  the  market.  Prof.  Dr.  Meyer,  one 
of  our  art  critics,  says,  concerning  these 
pictures:  "All  the  photographs  taken  by 
the  old  process,  notwithstanding  the  amount 
of  care  bestowed  upon  them  by  retouching, 
are  now  worthless;  they  should  all  be 
taken  over  by  the  new  process." 

I  am  very  much  obliged  to  Mr.  Ives  for 
calling  the  attention  of  the  fraternity  to  this 
new  field  of  photography  which  I  opened 
twelve  years  ago  ;  but  he  will  kindly  allow 
me  to  correct  several  mistakes  in  his  article 
published  in  the  May  issue  of  your  journal 
on  page  141.  Mr.  Ives  there  says:  "Dr. 
H.  W.  Vogel  who  was  one  of  the  first, 
though  not  the  first,  to  devote  attention  to 
this  subject  (isochromatic  photography),  in 
1873,"  etc.  If  I  am  not  the  first  I  would 
request  Mr.  Ives  to  tell  me  who  before  me 
discovered  the  principle  of  making  bromide 
of  silver  sensitive  to  yellow,  green,  and 
red  rays  by  the  addition  of  dyes  absorbing 
those  rays.  I  do  not  believe  that  Mr.  Ives 
is  sufficiently  acquainted  with  the  German, 
French,  and  English  photographic  litera- 
ture to  answer  exactly  that  question  ;  there- 
fore, he  will  kindly  allow  me  to  send  him 
succor  in  the  person  of  Captain  Abney, 
E.R.S.,  who  says,  in  the  Photographic 
Journal,  June  27,  1884,  p.  152,  that  "  to 
Dr.  Vogel  undoubtedly  (in  1884)  belongs 
the  credit  of  having  first  called  attention  to 
the  action  of  dyes  in  general."  Further,  I 
call  attention  to  Dr.  Eder,  whose  name  I 
think  is  very  well  known  in  America. 
Dr.  Eder,  in  December,  1884,  published 
a  paper  in  the  Reports  of  the  Imperial 
Academy  of  Vienna  (p.  1115),  wherein  he 
says,  "  Prof.  H.  ~W.  Vogel  discovered,  in 
1873,  the  fact  that  dyes  added  to  bromide 
of  silver  made  it  sensitive  to  green,  yellow, 
and  red  rays."  I  think  the  verdict  of  such 
authorities  as  Dr.  Eder  and  Captain  Abney 
will  settle  the  question.  Mr.  Ives  speaks 
also  concerning  my  theory.  I  would  kindly 
request  him  to  study  the  principles  of  spec- 
trum analysis  before  speaking  of  matters 
not  sufficiently  known.  He  speaks  of  chlo- 
rophyl  absorbing  only  red  light.     I   would 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


205 


like  to  call  his  attention  to  my  Handbook 
of  Practical  Spectrum,  Analysis.  He  may 
there  learn  that  chlorophyl  absorbs  not 
only  red  rays,  but  also  orange,  yellow, 
green,  and  even  blue  rays.  It  has  really 
seven  absorptive  bands  in  different  parts 
of  the  spectrum.  Further,  Mr.  Ives  asserts 
that  isochromatic  gelatine  plates  are  com- 
paratively insensitive  to  red.  I  request 
him  to  make  a  trial  with  my  azaline 
plates,  and  he  will  change  his  opinion 
very  speedily.  It  is  even  not  true  when  he 
says  that  the  isochromatic  gelatine  plates 
must  be  developed  in  almost  total  darkness. 
Mr.  W.  Kurtz,  of  New  York,  who  has 
been  working  with  my  azaline  plates 
several  months,  will  be  so  kind  as  to  give 
him  further  information  on  the  matter. 
At  the  New  Orleans  Exposition  there  is  a 
Prang  chromo  of  the  Midnight  Sun,  show- 
ing a  red  sun  with  red  clouds,  and  a  repro- 
duction from  it  with  azaline  plates  to 
prove  to  every  one  that  red  clouds  are  re- 
produced by  these  plates  better  than  Mr. 
Ives  asserts.  At  least  I  recommend  to  Mr. 
Ives  a  very  good  French  book,  published  in 
1878,  Traite  Practique  de  Photograpliie  des 
Colours,  where  he  will  find  a  special  de- 
scription of  the  chlorophyl  process  experi- 
mented upon  by  the  authors. 

In  my  former  letter  I  recommended  the 
use  of  aurantine  collodion  instead  of  the 
colored  glasses.  My  experiments  have  in 
the  meanwhile  been  confirmed  and  proved 
satisfactory  in  the  hands  of  other  experi- 
mentalists. Herr  Scoliak,  in  Vienna,  writes : 
"In  especial,  lean  assure  you  that  the  auran- 
tine collodion  disk  recommended  by  you  not 
only  satisfies  me  most  extraordinarily,  but 
also  Mr.  Victor  Angerer  to  such  a  degree, 
indeed,  that  the  latter  at  present  employs 
exclusively  such  yellow  disks.  They  are 
much  to  be  preferred  to  the  common  yellow 
disk,  inasmuch  as  they  occasion  no  difficulty 
in  their  preparation."  Herr  Scoliak  has  in 
a  like  manner  expressed  himself  in  the 
Photographic  Association  at  Vienna  con- 
cerning the  application  of  aurantine  disks. 

Since  at  present  very  many  reversed  neg- 
atives must  needs  be  taken  for  the  callo- 
type  process,  a  method  of  effecting  such  re- 
verses with  the  color-sensitive  plates  cannot 
fail   to   be   of    interest.      Herr    Obernetter 


writes  concerning  this:  "I  polish  the 
back  side  of  the  azaline  plate  perfectly 
clean,  and  flow  it  over  with  j'ellow  col- 
lodion. I  then  lay  the  plate,  reversed, 
in  the  kit  of  the  plate-holder,  and  focus, 
allowing  for  the  thickness  of  the  glass. 
By  so  doing  I  obtain,  without  the  inter- 
position of  a  special  yellow  plate,  a  suita- 
ble negative  for  the  lichtdruck  (phototype). 
The  proportions  I  use  at  present  in  the 
constitution  of  the  yellow  collodion  are  as 
follows :  I  do  not  make  it  stronger  than 
0.3  grammes  of  aurantine  to  100  c.  of  col- 
lodion." Schumann  recently  made  known 
the  fact  that  azaline  plates  were  better 
developed  under  brown  light  than  with 
red  light.  He  recommended  softened  light 
coming  through  brown  silk  paper,  double 
fold.  Eder  has  likewise  found  the  same  ad- 
vantageous. I  have  often  been  asked  whether 
the  color-sensitive  process  can  be  employed 
without  the  use  of  yellow  disks.  I  can  now 
answer  the  question  affirmatively,  at  least 
as  far  as  concerns  the  collodion  process.  It 
is  maintained  that  Dr.  Albert  and  Braun 
make  use  of  a  process  not  requiring  the 
intervention  of  yellow  disks.  Particulars 
are  not  known,  but  the  study  of  eosin 
silver  conducts  to  processes  which  tend 
to  the  same  direction.  Also,  as  shown  in 
my  article  on  this  paper  (1884),  the  yellow 
disk  is  not  always  necessary.  The  pro- 
cesses are  capable  of  certain  modifications, 
so  that  at  times  the  yellow  sensitiveness 
may  be  required  to  be  increased,  and  the 
blue  to  be  still  more  depressed.  I  have 
shown  the  following  facts  connected  with 
eosin  silver  films  sensitive  to  light :  1. 
Eosin  silver  alone  is  sensitive  to  yellow- 
green  and  green  of  the  spectrum.  With 
long  exposure  the  effect  extends  but  little 
beyond  the  light  blue.  If  a  comparison  be 
made  between  eosin  silver  and  pure  bromide 
of  silver,  as  regards  the  action  of  the  yellow 
rays  of  the  spectrum,  it  will  be  found  that 
eosin  silver  is  about  three  times  as  sensi- 
tive to  the  yellow  as  indigo-sensitive  bro- 
mide of  silver.  2.  Eosin  silver  with  bro- 
mide of  silver  gives  considerable  yellow 
sensitiveness,  at  least  sixty  times  as  great 
as  the  yellow-green  sensitiveness  of  an 
uncolored  bromide  of  silver  plate.  The 
yellow-green  sensitiveness  of  an  eosin  bro- 


206 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


mide  of  silver  film  is  about  ten  times 
as  strong  as  the  blue  sensitiveness.  3. 
Eosin  silver  with  a  slight  percentage  of 
iodide  of  silver  gives  a  yellow-green  sen- 
sitiveness about  four  times  as  sensitive  as 
the  blue  sensitiveness.  Addition  of  bro- 
mide and  iodide  of  silver  increases,  there- 
fore, the  blue  sensitiveness.  Strongest  with 
iodide. 

Now,  the  intention  is  rather  to  diminish 
the  blue  sensitiveness  than  to  increase  it. 
Apparently  the  best  would  be  to  photograph 
alone  with  eosin  silver,  but  that  is  not  sen- 
sitive enough.  Addition  of  bromide  of  sil- 
ver increases  the  sensitiveness  for  white 
light  more  than  twentyfold.  Iodide  of 
silver  in  small  quantities  increases  still  more 
the  sensitiveness,  and  contributes  essentially 
to  the  cleanness  of  the  plate.  These  facts 
caused  me  to  use  some  iodide  of  silver  in 
my  collodion  recipe  for  color-sensitive  plates. 

The  question  arises  whether  in  repressing 
the  blue  sensitiveness  it  were  not  better  to 
diminish  the  amount  of  blue-sensitive  bodies 
(therefore  bromide  of  silver),  and  hence  the 
quantity  of  the  green-yellow  sensitiveness 
to  increase  (eosin  silver).  These  questions 
I  endeavored  to  answer  empirically.  I  left 
out,  accordingly,  in  my  recipe  the  exclu- 
sively blue-sensitive  iodine  of  silver,  and 
experimented  first  of  all  with  a  bath  free  of 
iodide  and  an  eosin  collodion  of  only  one- 
half  the  power  of  bromine.  I  took  photos 
of  the  color  scale.  In  consequence  of  the 
absence  of  the  bromine  salt  in  the  collodion, 
the  images  of  necessity  were  thin  and  fiat. 
Now,  in  order  to  obtain  strong  shadows  I 
returned  the  original  bromidizing,  and  in- 
creased the  contents  of  eosin  to  tenfold  the 
former  recipes.  Here  I  recognized,  indeed, 
the  diminution  of  the  blue  sentiveness  and 
the  increase  of  the  yellow  sensitiveness  in  a 
striking  manner,  so  that  the  color  sensitive- 
ness took  place  without  the  yellow  glass. 
To  be  sure  the  preponderance  of  the  yellow 
in  this  case  was  not  great.  The  ultramarine 
acted,  for  example,  stronger  than  chrome 
yellow,  when  it  should  be  the  reverse,  as 
chrome  is  brighter  than  ultramarine.  Me- 
nigi  red  lead,  in  consequence  of  the  red  of 
the  eosin  silver,  was  far  behind  the  azaline. 

The  experiment  was  now  continued,  as  I 
sought  to  increase  the  quantity  of  eosin  even 


to  twenty  times  that  of  the  original  experi- 
ment. The  constitution  of  the  collodion 
and  the  other  solutions  remained  the  same 
as  in  my  beforementioned  recipes.  The 
result  was  that  I  obtained  in  this  manner  a 
plate  which,  without  the  interposition  of  the 
yellow  glass,  to  be  sure,  rendered  the  chroiue 
yellow  stronger  than  the  ultramarine  blue, 
but  the  results  did  not  correspond  to  that 
produced  upon  an  azaline  plate  exposed  be- 
hind a  yellow  disk.  The  action  of  the 
chrome  was  far  above  that  of  ultramarine 
likewise,  red  lead  above  cobalt,  whilst  red 
lead  in  the  eosin  collodion  plate  scarcely 
showed  an  effect,  but  the  convenience 
of  working  without  the  yellow  disk  is 
not  to  be  undervalued,  inasmuch  as  its 
use  increases  the  time  of  exposure.  A 
more  exact  comparison  showed  that  the 
eosin  collodion  without  the  yellow  disk 
could  be  exposed  as  quickly  as  an  azaline 
plate  with  aurantine.  To  be  sure,  the 
effects  were  more  striking  in  the  case  of  the 
azaline.  For  oil  paintings  with  dark  blues, 
if  the  rendering  of  the  reds  is  of  no  im- 
portance, the  collodion  eosin  plate  without 
the  intervention   of  the  yellow  glass  may 

suffice. 

Very  truly  yours, 

Dr.  H.  W.  Yogel. 

Berlin,  June  ist. 

Note. — I  mention  here  that  my  first 
paper  on  the  new  process  was  published  in 
Germany,  December,  1873 ;  in  England, 
January,  1874. 


SOCIETY  GOSSIP. 


The  Photographic  Society  of  Phila- 
delphia.— Minutes  of  the  stated  meeting, 
held  Wednesday  evening  June  3,  1885,  the 
President,  Mr.  Joseph  W.  Bates,  in  the 
Chair. 

The  minutes  of  the  last  meeting  having 
been  approved,  the  Sectretary  reported  a 
donation  to  the  library,  by  Mr.  Victor 
Guillou,  consisting  of  five  volumes  of  Snel- 
ling's  Photographic  and  Fine  Arts  Journal, 
dated  1854  to  1858  inclusive,  also  vols.  i.  and 
ii.  of  the  Philadelphia  Photographer, 
and  a  copy  of  Leaf  Prints,  by  Charles  F. 
Himes,  Ph.D.     These  books  had  been  the 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


207 


property  of  Mr.  Constant  Gillou,  the  first 
President  of  the  Society,  which  gave  them 
an  especial  value  to  this  organization.  On 
motion,  a  vote  of  thanks  was  tendered  Mr. 
Guillou  for  the  donation. 

The  Excursion  Committee  reported  that 
the  trip  to  Taughannock  Falls  had  been 
made  by  a  party  consisting  of  Messrs.  Joseph 
W.  Bates,  Frederick  Graff,  F.  T.  Fassit,  S. 
Fisher  Corlies,  Samuel  Sartain,  W.  D.  H. 
"Wilson,  Frank  Bement,  Frank  G.  Kogers, 
W.  L.  Springs,  and  Charles  Barrington, 
members  of  the  Society,  and  Messrs.  John 
L.  Keen  and  Paul  Sartain,  visitors.  They 
started  Thursday,  A.M.,  May  21,  from  Ninth 
and  Green  Streets  Depot  in  a  special  car, 
arriving  at  the  Falls,  after  a  pleasant  ride  of 
ten  hours,  at  7  p.m.  Their  accommodations 
were  very  comfortable.  In  addition  to 
Taughannock  Falls,  they  visited  Enfield 
and  Glen  wood  Falls,  Ithaca  Gorge  and  Falls, 
and  the  grounds  of  Cornell  University.  The 
trip  lasted  one  week,  and  the  results  were 
entirely  satisfactory.  Seven  hundred  and 
seven  plates  were  exposed,  varying  in  size 
from  one-quarter  size  to  whole  plate. 

The  Exhibition  Committee  reported  fa- 
vorable progress.  A  large  number  of  cir- 
culars had  been  distributed  among  Societies 
and  individuals  likely  to  be  interested,  both 
in  this  country  and  in  England,  and  a 
number  of  responses  had  been  received  indi- 
cating that  large  and  interesting  exhibits 
would  be  sent  from  other  Societies. 

The  Presentation  Committee  reported  that 
they  had  selected  from  the  pictures,  entered 
in  competition  for  the  Presentation  Prints 
for  1885,  a  view,  "  Near  Seal  Harbor,  Mount 
Desert,"  by  Robert  S.  Redfield,  and  a  figure 
composition  entitled  "  Crossing  the  Brook," 
by  Mr.  Frank  G.  Cauffman. 

The  Committee  on  Membership  reported 
the  election  of  active  members  as  follows: 
Dr.  George  A.  Piersol,  Dr.  John  G.  Lee, 
and  Messrs.  Charles  L.  Royce  and  Horace 
P.  Gillingham. 

Mr.  Walmsley  showed^an  "  instantograph 
shutter,"  arranged  with  a  pneumatic  trigger 
and  the  speed  regulated  with  a  coiled  watch- 
spring,  the  tensionW  which  could  be  readily 
adjusted  for  different  rapidities. 

Adjourned.        Robert  S.  Redfield, 

Secretary. 


Association  or  Operative  Photogra- 
phers.— Meeting  held  June  3, 1885.  Presi- 
dent Power  in  the  Chair. 

The  Secretary  was  directed  to  communi- 
cate with  the  various  stockhouses  with  a 
view  of  placing  bulletin  boards  in  them,  on 
which  applications  for  help  could  be  posted 
when  they  could  not  be  filled  from  the  As- 
sociation. 

Mr.  Eddowes  :  I  should  like  to  ask  the 
retouchers  present,  what  kind  of  leads  they 
use,  and  why  they  prefer  them  ? 

Mr.  Acker :  I  use  the  metallic  leads 
almost  entirely;  some  say  that  the  metallic 
lead  oxidizes,  but  I  have  seen  negatives  re- 
touched with  it  six  years  ago,  and  have 
never  noticed  any  oxidation. 

Mr.  Faulkner  :  Is  it  customary  to  retouch 
dry  plates  before  or  after  varnishing  ? 

Mr.  Schaidner :  I  use  graphite  leads  en- 
tirely, and  find  they  answer  every  purpose, 
both  for  WL-t  and  dry  plates.  I  retouch  my 
dry  plates  before  varnishing,  as  I  think  this 
plan  gives  a  softer  effect ;  if  the  face  is  very 
rough,  I  can  retouch  it  again  after  varnish- 
ing, and  so  make  sure  of  getting  it  smooth. 
I  find  that  metallic  leads  if  soft  lose  their 
point,  and  if  hard  do  not  cover  enough. 

Mr.  Biihler  :  While  I  was  at  Sarony's 
some  years  ago,  they  used  Siberian  leads, 
using  nothing  on  the  negative  to  make  the 
pencil  take,  and  the  effect  was  much  nicer 
than  where  the  surface  of  the  varnish  was 
prepared;  of  course,  the  varnish  has  some- 
thing to  do  with  it. 

Mr.  Schaidner:  If  it  is  a  very  rough  sur- 
face, the  negative  cannot  be  varnished  so 
the  lead  will  take  properly,  without  prepar- 
ing the  surface.  For  this  purpose  I  find 
nothing  so  good  as  pumice-stone ;  if  you  get 
too  much  lead  on  you  can  grind  it  off  again. 
If  the  freckles  are  deep,  you  must  prepare 
the  surface  in  some  way. 

Mr.  Acker :  I  have  retouched  without 
preparing  the  surface  of  the  varnish,  and 
found  that  it  gave  a  hard  effect.  1  prefer  to 
use  pumice-stone;  don't  care  for  the  balsam 
of  fir  or  turpentine,  as  jjthey  are  sometimes 
slippery,  and  sometimes  "take  "  too  much. 

Mr.  Biihler :  A  negative  that  has  had 
pumice-stone  used  on  it,  will  show  the  ap- 
plication in  solar  prints. 

Mr.  Acker  :    I  can  sriind  a  negative  with 


208 


THE    PHILADELPHIA    PHOTOGRAPHER. 


pumice-stone  so  no  lines  will  show  outside 
of  the  face.  Of  course,  the  grinding  inten- 
sifies the  negative,  and  the  fine  scratches 
show  plainer  when  enlarged. 

Mr.  Eddowes :  When  retouching,  I  used 
to  enclose  my  pumice  in  two  thicknesses  of 
muslin,  and  sift  it  on  the  negative,  grinding 
with  an  old  lead-pencil  eraser  ;  in  this  way 
I  could  take  the  oily  surface  from  the  var- 
nish, and  scarcely  show  the  application  of 
the  pumice-stone. 

Mr.  Acker :  If  your  pumice  is  so  coarse 
that  you  have  to  sift  it,  it  is  better  to  get  a 
new  lot.  I  do  not  like  the  rubber,  as  you 
never  have  the  same  feeling  as  when  j'ou 
apply  the  pumice  with  your  finger. 

Mr.  Schaidner :  It  is  hard  to  get  fine 
pumice-stone,  but  if  you  put  your  pumice 
in  a  quantity  of  water,  shake  well,  and  let 
stand  for  five  minutes,  the  coarser  particles 
will  settle  to  the  bottom,  while  the  finer 
will  be  held  in  mechanical  suspension;  de- 
cant the  water  through  a  filtering  paper,  add 
more  water  to  the  pumice,  shaking  up  as 
before,  etc.  Eepeating  the  operation  two  or 
three  times ;  then  dry  the  pumice  that  is 
left  on  the  filter,  and  you  will  have  it  as  fine 
as  it  is  possible  to  get  it. 

Mr.  Eddowes:  A  great  objection  to  tur- 
pentine and  balsam  of  fir  is  that  the  dust 
sticks  to  them,  and,  as  a  consequence,  dirty 
prints  result. 

Mr.  Acker :  Turpentine  and  Venetian  tur- 
pentine mixed  in  equal  parts,  have  not  the 
sticky  properties  of  balsam  of  fir. 

Mr.  Schaidner:  I  find  that  the  more  I 
heat  my  negatives,  the  harder  and  more 
glossy  the  varnish  becomes,  and  the  more 
difficult  to  retouch  without  preparing. 

Mr.  Eaulkner :  I  have  heard  that  if  the 
negative  was  chilled  a  little  while  varnish- 
ing, it  could  be  retouched  without  preparing 
the  surface. 

Mr.  Power:  By  chilling  the  varnish,  you 
kill  the  printing  qualities  of  the  negative. 

Mr.  Acker :  Heating  the  negative  after 
varnishing  has  a  great  deal  to  do  with  the 
"taking"  qualities  of  the  varnish;  if  the 
negative  is  overheated,  and  you  attempt  to 
use  the  needle,  the  varnish  will  chip  off.  A 
little  water  added  to  the  varnish  gives  a 
slightly  chilled  effect,  and  enables  you  to 
retouch  without  preparing  the  surface. 


Mr.  Faulkner :  I  understand  that  if  a  little 
collodion  is  added  to  the  varnish  it  will  have 
the  same  effect. 

Mr.  Biihler :  By  adding  collodion  you 
make  ground-glass  varnish. 

Mr.  Power  :  Yesterday  I  took  a  pound  of 
silver  and  made  it  into  stock  solution  ;  I 
tested  with  litmus  paper  and  found  it  very 
acid.  To-day  I  tested  the  same  solution, 
and  found  it  alkaline.  Can  any  one  account 
for  the  change? 

Mr.  Faulkner :  I  once  had  a  similar  ex- 
perience, and  attributed  it  to  the  action  of 
light. 

Mr.  Power  :  The  solution  was  in  my  dark- 
room. 

Mr.  Mildenberger  :  I  test  my  bath  to-day 
after  silvering,  and  it  shows  acid;  to-mor- 
row, although  I  do  not  use  the  bath,  it  tests 
more  acid. 

Mr.  Biihler:  I  do  not  think  it  possible  to 
give  an  explanation  unless  a  chemist  takes 
the  silver  and  examines  it. 

The  various  journals  were  received  with 
thanks  of  the  Association. 

Kespectfully  yours, 

W.  Eddowes, 

Secretary. 

The  Society  of  Amateur  Photog- 
raphers oe  New  York. — A  special  meet- 
ing was  held  on  Tuesday  evening,  May  26th. 
The  members  were  called  to  order  at  8.30 
by  President  Beach,  in  the  chair. 

Mr.  C.  A.  ISTeedham  was  then  called  upon 
to  set  up  and  show  his  apparatus  for  holding 
backgrounds,  which  was  done  before  the 
audience,  and  its  working  illustrated. 

A  swivel  allows  the  horizontal  arms  to  be 
turned  in  any  direction.  One  of  the  arms 
is  intended  to  support  a  reflecting  screen. 
The  background  can  be  raised  or  lowered 
at  will.  The  light  from  a  side  window  is 
about  as  near  an  approach  to  a  good  gallery 
light  as  can  be  found.  When  the  light 
comes  from  the  top  it  gives  very  deep 
shadows  under  the  chin  and  nose.  The  or- 
dinary parlor  window  makes  a  good  and 
efficient  light.  We  have  long  needed  some 
good  way  of  supporting  backgrounds,  and 
that  need  this  device  is  supposed  to  meet. 
How  near  it  comes  to  it,  I  leave  the  ama- 
teurs to  judge.     It  is  designed  mainly  for 


THE  PHILADELPHIA  PHOTOGEAPHEE. 


209 


amateurs'  use,  where  the  light  comes  from 
an  ordinary  window. 

The  extension  rod  at  the  top  is  held  by  a 
ratchet.  It  is  adjustable  to  almost  any  height 
of  ceiling,  from  eight  feet  up  to  fourteen  or 
fifteen  feet.  It  can,  however,  be  constructed 
for  even  higher  ceilings  than  this 

The  background  shown  is  intended  for  a 
Rembrandt  effect.  The  head  is  posed  with 
the  illuminated  side  against  the  dark  por- 
tion of  the  background,  and  the  shadow  side 
against  the  lighter  tint;  the  illuminated 
side  of  the  face  is  thus  relieved  against  the 
dark  background. 

The  Secretary  then  explained  and  exhi- 
bited some  cameras  and  tripods  sent  by  the 
manufacturers.  A  tripod,  and  the  "  Fairy  " 
camera,  by  E.  &  H.  T.  Anthony  &  Co.,  was 
first  shown.  The  tripod  is  of  the  "  Taylor  " 
pattern,  two  metal  plates  on  each  side  of  the 
lower  length  taking  the  place  of  the  usual 
pegs  and  holes,  to  prevent  the  legs  bending 
inward  when  set  up.  The  tripod  top  has 
on  the  lower  side  three  brass  springs  which 
fit  between  the  two  separable  parts  of  the 
upper  portion  of  the  leg  when  in  position, 
and  keep  them  firmly  pressed  into  the  sup- 
porting pegs. 

The  camera  shown  was  an  8  by  10.  The 
points  alluded  to  were  the  use  of  two  hooks 
to  hold  the  folding  bed  extended,  thus  doing 
away  with  the  loose  screw  generally  em- 
ployed ;  the  focussing  by  rack  and  pinion, 
the  easily  adjusted  swing-back,  the  front 
rising  and  falling  on  the  metal  guides,  and 
especially  the  reversing  arrangement.  The 
back  portion  of  the  box  is  detached  from  the 
bed,  the  front  portion  of  the  bellows  makes 
a  quarter  of  a  revolution,  and  by  key-hole 
slots  the  back  portion  is  again  fastened  to 
the  bed,  thus  bringing  the  length  of  the 
plate  the  opposite  way  to  what  it  was  before. 
The  light  and  convenient  slides,  and  the 
portability  of  the  whole  outfit,  were  noticed. 

The  Scovill  Manufacturing  Co.  sent  their 
new  sliding  tripod,  which  is  extremely  light 
and  compact  when  folded,  and  admits  of 
adjustment  to  unequal  ground,  a  point  often 
of  much  importance.  "With  this  was  a 
"  Petite  "  box,  of  quarter  size,  nicely  made 
of  polished  mahogany,  though  of  the  "cheap 
outfit  "  class.  In  this  camera  the  use  of  a 
screw  for  rendering  the   bed   rigid  is  also 


done  away  with,  a  sliding  bolt  taking  its 
place.  The  single  swing-back  is  simple  and 
easily  controlled. 

The  "  Manifold  "  camera,  also  made  by 
the  Scovill  Manufacturing  Co.,  was  then 
set  up.  This  has  an  extension  bed  in  three 
pieces,  and  an  unusually  long  bellows,  a 
point  of  great  advantage  in  using  long  focus 
lenses.  Ordinarily,  the  box  is  front  focus- 
ing by  a  rack  and  pinion  ;  when  the  exten- 
sion bed  is  used,  the  screws  controlling 
horizontal  and  vertical  swings  are  released, 
and  the  approximate  focus  is  obtained  with 
the  rear  portion  of  the  camera,  the  fine  focus 
by  the  rack  and  pinion.  The  ground  glass 
is  not  detached,  but  S3  fastened  that  the 
slides  can  be  pushed  in  in  front  of  it.  There 
are  no  holes  through  the  front  board,  thus 
lessening  the  risk  of  light  being  admitted. 
A  spring  holds  the  front  in  position ;  the 
lens  can  be  raised  or  lowered  by  a  slight 
pressure.  The  plate-holders  accompanying 
this  camera  are  of  the  "Daisy"  pattern, 
and  very  light  and  convenient.  The  back 
of  the  box  is  reversible ;  the  box  being 
made  square.  The  arrangement  for  vertical 
and  horizontal  swings  is  the  invention  of 
Mr.  W.  J.  Stillman.  Altogether  this  camera 
presents  many  novel  features. 

The  President  announced  the  presentation 
to  the  Society,  by  Mr.  Atkinson,  of  a  stereo- 
scope and  a  number  of  stereoscopic  views 
made  by  himself,  and  then  showed  a  newly 
devised  "portable  dark  room,"  recently 
patented  by  William  Wrightman  Walker, 
of  Troy,  N.  T. 

The  President  also  showed  an  arrange- 
ment for  saturating  water  with  sulphurous 
acid  gas,  made  by  A.  Boake  &  Co.,  of  Strat- 
ford, England. 

When  the  use  of  sulphurous  acid  for  pre- 
serving pyro  in  solution  was  first  recom- 
mended, considerable  trouble  was  expe- 
rienced by  many  in  finding  sufficiently  pure 
and  strong  samples  here,  that  generally 
offered  being  unreliable.  The  apparatus  in 
question  was  imported,  and  Mr.  Beach  said 
he  believed  it  to  be  the  only  one  of  the  kind 
in  New  York,  and  offered  to  supply  any 
member  who  wished  to  experiment  in  this 
method  of  preserving  pyro. 

The  apparatus  consists  of  a  glass  bottle 
like  a  mineral  water  siphon,  which  is  tested 


14 


210 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


up  to  200  pounds  per  square  inch,  and 
which  contains  the  liquified  sulphurous  acid 
gas,  this  exerting  a  pressure  of  about  30 
pounds  to  the  square  inch.  Connected  with 
this  by  glass  and  rubber  tubing  is  a  smaller 
wash  bottle,  in  which  is  placed  the  distilled 
water  intended  to  be  saturated,  and  which 
is  connected  with  a  second  small  bottle  con- 
taining a  solution  of  caustic  soda.  By  turn- 
ing a  milled  head  on  the  siphon,  the  pres- 
sure is  relieved,  the  liquid  acid  is  converted 
into  gas,  which  bubbles  up  through  the 
distilled  water  and  gradually  saturates  it  ; 
any  excess  of  the  irritating  gas  passing  into 
the  second  bottle,  where  it  is  absorbed  by 
the  soda  solution  and  prevented  from  escap- 
ing into  the  room.  The  wash  bottle  used 
is  known  as  the  "  ether  "  form,  and  is  made 
wholly  of  glass,  no  cork  stopper  being  used. 
Only  a  few  moments  are  required  to  saturate 
sixteen  ounces  of  water,  which  will  preserve 
eight  ounces  of  pyro  in  solution. 

The  lights  were  then  turned  down  and 
about  one  hundred  slides  were  shown  on 
the  screen.  About  thirty  of  these  were  sent 
by  the  Philadelphia  Society,  and  were  very 
much  admired,  especially  some  views  by 
Mr.  Randall,  and  a  winter  scene  by  Mr. 
Walmsley.  A  series  of  views  by  Dr.  Mason , 
illustrating  the  incidents  of  a  ride  in  the 
country,  was  the  most  extensive  contribu- 
tion from  the  members,  and  was  extremely 
well  done.  A  deserted  mill  elicited  hearty 
applause.  Slides  taken  on  an  excursion  the 
previous  Saturday,  by  Mr.  Brush,  showed 
the  value  of  lantern  slides  as  souvenirs  of 
such  pleasant  occasions,  and  the  celerity 
with  which  a  view  can  be  presented  before 
a  number  of  people  at  once.  Views  of  the 
Capitol  at  Washington,  and  of  a  child  on 
horseback,  in  Mr.  Brush's  usual  successful 
manner,  also  several  excellent  slides  of  steam- 
boats by  Mr.  Benjamin,  and  of  landscapes 
by  Mr.  Black  and  other  members,  were 
shown  ;  followed  by  a  number  of  instanta- 
neous views  of  vessels  and  other  subjects, 
by  Mr.  Atkinson,  mostly  on  collodion 
plates. 

It  had  been  intended  to  have  the  slides 
criticised  by  the  members,  but  most  of  them 
seemed  to  prefer  to  say  nothing,  so  that  part 
of  the  programme  was  scarcely  a  success. 

The  meeting  adjourned  at  10.30. 


A  regular  meeting  of  this  Society  was  held 
at  their  rooms,  1260  Broadway,  Tuesday 
evening,  June  9,  the  President  in  the  Chair. 

The  Chairman  announced  an  excursion 
up  the  Hudson  for  the  next  day,  and  invited 
members  to  join  ;  also,  the  plan  of  another 
later  this  month,  when  it  is  proposed  to 
charter  a  tug  for  a  trip  around  the  harbor, 
which  will  give  a  chance  for  shutter  work. 

The  Secretary  read  part  of  a  letter  from 
D.  T.  Kendrick,  concerning  the  advisability 
of  compressing  different  chemicals  into  tab- 
lets, like  chlorate  of  potash  lozenges;  also, 
a  letter  from  E.  &  H.  T.  Anthony,  accom- 
panying the  gift  to  the  Society  of  seven 
prints  taken  on  Decoration  Day  with  a 
Prosch  shutter ;  also,  a  telegram  from  the 
Secretary  of  the  State  of  New  York,  stating 
that  the  incorporation  papers  had  been  filed 
that  morning. 

A  synopsis  of  the  previous  minutes  was 
read  and  adopted. 

Messrs.  H.  G.  Piffard,  Wm.  H.  Sanford, 
J.  L.  "Williams,  M.D.,  Geo.  H.  Cook,  and 
A.  H.  Borman  were  elected  active  members. 

The  report  of  the  Executive  Committee 
was  then  read  by  the  Secretary,  as  follows: 

Report  of  the  Executive  Committee.  In 
accordance  with  the  resolution  passed  at  the 
regular  meeting  of  May  14, 1885,  instructing 
this  Committee  to  cooperate  with  the  Com- 
mittee on  Incorporation,  and  also  author- 
izing it  to  prepare  a  revised  Constitution  to 
be  in  harmony  with  the  change  necessitated 
by  incorporation,  we  have  to  report  that  the 
matter  has  undergone  careful  consideration, 
and  we  herewith  present  for  your  attention 
a  copy  of  the  Constitution  as  revised. 

It  has  been  the  object  of  the  Committee 
to  widen  the  scope  of  the  Society  and  to 
provide  different  classes  of  membership, 
which,  it  is  hoped,  will  accommodate  ama- 
teurs in  varying  circumstances,  and  thus 
enable  all  who  are  worthy  to  become  mem- 
bers. 

The  Committee  has  also  borne  in  mind 
the  need  of  separating  the  business  of  the 
Society  from  the  general  meetings,  in  order 
that  more  time  may  be  given  to  the  discus- 
sion of  topics  relating  to  photography,  and 
to  this  end  a  Board  of  Directors  has  been 
established,  who  will  be  responsible  for  the 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


211 


business  affairs  of  the  Society  for  its  proper 
management. 

Proper  precautions  have  been  inserted  to 
have  fair  elections  and  to  meet  any  ordinary 
emergency  which  may  arise. 

"We  approve   the  measure  as  presented, 
and  ask  that  we  may  be  discharged  from  its 
further  consideration.     Kespectfully, 
[Signed.]  H.  J.  Newton,  Chairman. 

E.  A.  C.  Smith, 
Geo.  H.  Bipley. 

New  York,  June  9,  1885. 

On  motion  of  Dr.  Jane  way,  the  report 
was  accepted  and  the  Committee  discharged, 
and  consideration  of  the  report  postponed 
till  later  in  the  evening. 

Keport  of  the  Committee  on  Incorpora- 
tion. In  pursuance  of  the  power  conferred 
upon  this  Committee  by  the  resolution  passed 
at  the  meeting  of  May  14,  wherein  we  were 
instructed  to  have  this  Society  incorporated, 
as  suggested  in  our  last  report,  and  also  to 
cooperate  with  the  Executive  Committee  on 
the  revision  of  the  Constitution,  we  have 
to  report  that  we  have  this  day  received 
notice  from  the  Secretary  of  State,  Jas. 
B.  Carr,  at  Albany,  N.  Y.,  that  the  certifi- 
cate of  incorporation  has  been  officially  filed 
and  recorded  in  the  city,  county,  and  State 
of  New  York,  as  required  by  law.  The  So- 
ciety is  therefore  incorporated. 

The  following  are  the  names  of  the  incor- 
porators :  F.  C.  Beach,  Dr.  John  H.  Jane- 
way,  Charles  W.  Canfield,  Joseph  S.  Bich, 
George  H.  Bipley,  Kobert  A.  C.  Smith, 
Gilbert  A.  Bobertson,  Dexter  H.  Walker, 
and  Charles  Volney  King. 

In  addition  to  the  above  named  gentle- 
men, Messrs.  Charles  W.  Dean  and  Henry 
V.  Parsell,  making  eleven  in  all,  have  sig- 
nified their  willingness  to  assume  the  respon- 
sibilities of  a  Director  for  the  first  year. 

The  object  for  which  this  Committee  was 
appointed  having  been  accomplished,  we  ask 
that  it  be  discharged.     Bespectfully, 

F.  0.  Beach,  Chairman. 
C.  Volney  King, 
Gilbert  A.  Bobertson. 

New  York,  June  9, 1885. 

On  motion,  the  report  was  accepted  and 

placed  on  file  and  the  Committee  discharged. 

The  report  of  the  Committee  of  Arrange- 


ments was  then  read,  as  follows:  This  Com- 
mittee reports  the  fixing  of  October  27  as 
the  date  of  the  Fall  Exhibition  of  the  work 
of  members. 

On  motion,  this  report  was  accepted  and 
placed  on  file. 

The  President  remarked  that  the  Phila- 
delphia and  probably  also  the  Boston  Society 
had  projected  exhibitions  for  the  fall  of  1885, 
on  which  account  it  has  been  deemed  inad- 
visable for  this  Society  to  hold  a  general 
one;  but  that  it  was  the  duty  of  members 
to  make  this  exhibition  a  success,  by  con- 
tributing prints,  and  bearing  it  in  mind 
during  their  summer's  work. 

It  is  designed  to  make  the  exhibition  as 
full  as  possible,  and  let  every  member's  work 
be  seen. 

Mr.  Beach  also  said :  I  have  here  a  speci- 
men of  paper  negative  made  on  paper, 
coated  with  gelatine,  and  developed  with 
pyro,  and  made  transparent  by  means  of 
castor  oil.  You  will  notice  that  it  is  quite 
clear.  I  have  no  positive  print  made  from 
it  here  to  show  you,  but  I  am  told  that  they 
are  very  clear,  and  show  no  grain  of  the 
paper.  This  paper  is  made  by  the  Eastman 
Dry  Plate  and  Film  Company,  and  they 
hope  shortly  to  place  it  on  the  market. 

Mr.  J.  Traill  Taylor  said  :  I  would  kindly 
ask  the  President  to  extend  to  me  the  honor 
of  introducing  to  the  Society  a  gentleman 
well  known  to  you  all,  at  least  by  reputa- 
tion, and  whom  you  will  be  pleased  to  re- 
ceive— Mr.  Gentile,  of  Chicago,  editor  of  the 
Photographic  Eye. 

Mr.  Gentile  was  introduced,  and  said:  I 
thank  you  very  much,  indeed,  for  the  honor 
paid  me,  and  am  happy  to  make  your  ac- 
quaintance. I  don't  know  that  I  can  say 
very  much  that  will  interest  j7ou,  but  I  cer- 
tainly must  congratulate  you  in  having  the 
best  Photographic  Society  in  the  United 
States.  The  amateurs  are  doing  good  work, 
making  rapid  improvements,  and  I  think 
American  amateurs  will  not  be  behind  in 
giving  information.  As  a  professional  pho- 
tographer I  have  not  the  slightest  feeling  of 
jealousy,  and  I  think  I  speak  for  my  fellow- 
professionals.  I  am  pleased  to  notice  that 
so  many  gentlemen  and  ladies  are  taking  up 
the  art  as  an  amusement,  and  shall  no  longer 
feel  a  hesitation  in  acknowledging  myself 


212 


THE    PHILADELPHIA    PHOTOGRAPHER. 


as  a  follower  of  the  "  black  art."  .... 
I  again  thank  you  for  the  kindness  shown 
me. 

Mr.  Beach  remarked :  My  attention  has 
been  lately  called  to  the  prevailing  custom 
of  manufacturers  of  dry  plates,  of  putting 
plates  of  irregular  sizes  in  their  packages. 
One  of  our  members  recently  told  me  that 
he  purchased  six  packages  designed  specially 
to  fit  small  holders  made  thin,  so  they  would 
be  sure  to  go  into  the  grooves  of  the  holder ; 
but  he  found  on  an  average  each  of  those 
packages  contained  from  one  to  six  plates 
which  were  irregularly  cut;  they  were  made 
wedge-shaped,  and  were  too  large  at  one 
■end  to  fit  the  holder.  And  not  only  that, 
but  they  invariably  put  in  packages  of  small 
plates,  three  or  four  plates — what  I  should 
■call  double  thick  plates — twice  the  thickness 
of  the  groove  in  which  they  were  intended 
to  be  inserted.  And  from  the  numerous 
complaints  coming  in,  it  seems  to  me  that 
we  ought,  every  member  of  us,  to  make  a 
memorandum  during  the  summer — in  fact, 
be  a  committee  of  one — to  keep  an  account 
of  the  number  of  packages  which  we  use, 
;and  find  out  the  average  number  of  plates 
in  each  package  which  will  not  go  into  the 
holders.  Now,  there  is  no  excuse  to  my 
mind  why  a  dry-plate  manufacturer  cannot, 
with  reasonable  diligence,  use  a  glass  of 
proper  thickness  for  small  sizes,  and  also 
employ  skilled  enough  labor  to  have  them 
■cut  accurately.  I  hope  that  all  the  mem- 
bers will  keep  this  in  mind  during  the  sum- 
mer and  make  a  report  to  me  or  to  the  Com- 
mittee on  Dry  Plates  whenever  they  feel 
disposed. 

I  have  received  a  lengthy  communication 
from  Mr.  Henry  Loudon,  of  San  Francisco, 
whom  I  invited  to  send  to  us  a  plan 
and  description  of  how  he  made  his  emul- 
sions, and,  by  way  of  preface,  I  will  pass 
around  these  pictures  (some  of  them  have 
been  shown  before),  so  that  you  can  see  the 
results  which  he  obtained  by  this  process. 
1  have  placed  on  the  blackboard  the  for- 
mula. To  begin  with,  he  has  a  lantern 
which  he  claims  is  rather  larger  than  the 
ordinary  size — 10  inches  high  by  6  inches 
square— and  he  has  the  two  sides  of  the 
lantern  covered  with  a  coating  of  two  thick- 
nesses of  Post-Office  paper  about  the  color  of 


this  envelope,  and  the  front  of  the  lantern 
is  provided  with  one  thickness  of  this  paper. 
Mr.  Beach  then  proceeded  to  explain  the 
method  adopted,  by  means  of  diagrams  of 
the  apparatus  which  he  had  drawn  on  the 
blackboard. 

In  reply  to  a  question  by  Mr.  Roberts, 
Mr.  Beach  said  that  Mr.  Loudon  sensitized 
his  emulsion  by  boiling  twenty  minutes,  and 
also  used  ammonia. 

Mr.  Newton  :  I  judge,  from  the  fact  of 
this  process  being  given,  that  it  is  presumed 
that  some  of  our  amateur  protographers  will 
be  likely  to  try  the  experiment  of  making 
their  own  plates.  There  are  one  or  two 
things  that  are  well  to  know  in  reference  to 
mixing  your  compounds  to  form  the  finest 
texture  of  emulsion.  A  year  ago  now, 
when  the  weather  had  become  rather  warm, 
one  of  our  manufacturers  of  dry  plates  came 
to  me  and  said  he  had  met  with  great  diffi- 
culty since  the  warm  weather  commenced, 
on  account  of  his  emulsion  curdling  when 
he  mixed  the  solid  gelatine  and  silver  to- 
gether. The  curdling  of  the  solution  fre- 
quently occurs  when  the  salts  of  silver  are 
mixed  with  a  solution  containing  a  bromide 
and  an  iodide.  It  is  somewhat  difficult,  and 
requires  some  knowledge  and  experience  to 
mix  a  bromo-iodide,  either  in  forming  a 
collodion  emulsion  or  a  gelatine  emulsion, 
but  not  nearly  so  much  in  the  case  of  gela- 
tine emulsion.  One  of  the  causes  is  the 
unequal  proportion  in  a  given  quantity  of 
emulsion  of  either  one  or  the  other,  the  sil- 
ver solution  or  the  salted  solution.  Sup- 
posing you  have  a  quart  solution  of  gelatine 
with  your  silver  in  it,  and  another  quart 
with  your  salt  solution.  You  commence  to 
pour  one  into  the  other.  At  the  commence- 
ment you  have  unequal  proportions  of  the 
salt  and  the  silver  in  that  vessel  at  the  same 
time.  To  avoid  the  curd,  you  should  have 
them  mixed  as  they  go  together.  Take  two 
funnels  and  introduce  them  through  a  cork 
in  the  neck  of  a  wide-mouthed  bottle,  and 
pour  your  two  solutions  together,  so  that 
when  they  come  together  there  is  no  excess 
of  proportions  of  either  at  any  time,  and 
you  will  avoid  the  curd.  I  offer  these  sug- 
gestions that  you  may  know  how  to  put  the 
two  emulsions  together  so  as  to  get  the  finest 
textural  emulsion. 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


213 


I  would  like  to  ask  a  question  in  reference 
to  those  paper  negatives,  so  called,  that  were 
handed  around  among  the  members.  I 
would  like  to  ask  if  this  is  made  on  this 
paper,  or  lias  it  been  transferred? 

Mr.  Beach  :  It  is  made  direct  on  the 
paper. 

Mr.  Newton  :  You  said  it  had  been  oiled 
with  castor  oil.  Now,  I  have  tried  oiling 
of  paper  with  castor  oil,  and  it  is  not  a  good 
thing.  Any  one  who  will  look  at  the  back 
of  this  paper  will  see  what  is  going  to  hap- 
pen ;  it  will  dry  out  and  leave  this  negative 
unfit  for  use  in  a  month.  If  they  had  left 
the  oil  off  and  used  paraffine,  or  something 
of  that  character,  or  not  used  anything  at 
all,  it  would  have  been  better. 

Mr.  Beach :  I  didn't  prepare  the  article 
myself,  but  I  was  told  that  it  was  made 
transparent  by  castor  oil. 

Mr.  Newton:  I  presume  that  is  so.  I 
would  like  to  show  to  the  Society  some 
negatives  without  anything  added  to  clear 
the  paper,  and  also  some  with  paraffine.  I 
experimented  with  all  the  vegetable  oils  and 
all  the  different  kinds  of  wax,  vegetable 
waxes,  stearine,  and  everything  j'ou  can 
think  of,  and  1  advise  any  one  who  desires 
to  make  paper  negatives  not  to  use  oil  of 
any  kind.  Of  course,  of  all  the  vegetable 
oils  that  we  know  anything  about  castor  oil 
is  the  whitest,  and  it  is  also  the  slowest  dry- 
ing ;  and  that  is  the  reason  why  it  is  the 
whitest,  because  it  does  not  oxidize  rapidly. 
But  it  will  oxidize  finally.  It  is  just  a  mat- 
ter of  time,  that  is  all. 

Mr.  Beach  :  They  have  a  patent  process 
of  transferring  the  film  to  glass,  and  then 
when  it  dries  taking  it  off  so  that  it  will  be 
just  the  film  by  itself.  Specimens  of  nega- 
tives of  that  kind  were  shown  here  last 
November. 

Mr.  Atkinson :  I  wish  to  say  that  I  can 
endorse  Mr.  Newton's  remarks.  I  have 
made  paper  negatives  and  have  tried  castor 
oil,  and  find  it  a  decided  failure.  I  have 
now  some  paper  negatives  11  by  14,  that  I 
made  transparent  by  paraffine.  They  have 
been  made  fourteen  years,  and  they  are  as 
good  to-day  as  the  day  they  were  made. 

Mr.  Newton  :  I  have  a  number  which  I 
will  be  glad  to  show  this  Society  that  have 


been  made  twenty  years  and  havn't  changed 
at  all. 

Mr.  Beach  :  The  next  business  will  be  the 
exhibition  of  tripods. 

The  Secretary  then  showed  some  appa- 
ratus which  had  been  sent  in  for  exhibition. 
The  Scovill  Manufacturing  Co.  sent  their 
recent  detective  camera.  This  is  covered 
with  leather  so  as  to  be  inconspicuous,  re- 
sembling a  sample  case.  The  shutter  is 
easily  set  from  the  outside,  and  none  of  the 
machinery  is  visible  until  the  whole  is  turned 
over,  when  are  seen  the  release,  the  regulator 
for  varying  the  speed  of  the  shutter,  and 
also  the  index  and  register  for  focussing  at 
certain  distances  without  looking  at  focus- 
sing screen  ;  also  a  screw' which  allows  the 
lens  to  be  taken  out  and  removed,  to  be 
used  for  other  purposes,  when  desired. 
There  is  also  a  plate  to  receive  a  binding 
screw  by  which  the  camera  can  be  used  on  a 
tripod  for  making  time  exposures.  To  aid  in 
this  purpose  a  ground -glass  focussing  screen 
is  supplied,  which  slips  one  side  when  the 
slide  is  inserted,  but  is  not  detached.  There 
is  an  aperture  in  the  rear  end  of  the  box 
through  which  the  focussing  screen  can  be 
seen  and  the  picture  arranged,  when  used  in 
this  way,  for  time  exposures.  For  other 
exposures  there  is  a  supplementary  lens  and 
small  screen,  as  usual.  Six  holders  may  be 
packed  in  the  box. 

A  tripod,  called  the  "  Fairy,"  sent  by 
Messrs.  E.  &  H.  T.  Anthony  &  Co.,  packs 
up  into  very  small  compass.  It  is  in  four 
lengths,  so  hinged  together  that,  when 
folded,  it  can  be  packed  in  a  trunk  or  good- 
sized  valise. 

Anthony  &  Co.  also  sent  an  example  of 
the  "Schmidt"  detective  camera,  with 
latest  improvements,  consisting  of  a  regu- 
lator to  change  the  speed,  and  an  arrange- 
ment for  setting  the  shutter  from  the  outside 
by  pulling  a  knob ;  also  having  the  auxiliary 
lens  and  fcreen  lower  down  in  the  camera 
than  usual. 

Mr.  E.  M.  Rogers,  of  Brooklyn,  showed 
an  arrangement  for  obtaining  dissolving 
effect  with  a  single  lantern;  a  travelling, 
double-slide  carrier  is  pushed  from  side  to 
side  by  the  hand.  Attached  by  a  pivot, 
under  this  moving  frame,  to  the  permanent 
frame,  is  a  grooved   wood  wheel,  about  2i 


214 


THE    PHILADELPHIA    PHOTOGEAPHEK. 


inches  in  diameter.  Fastened  to  the  wheel 
is  a  frame  of  wire,  covered  with  tissue-paper 
or  gelatine.  A  cord  runs  from  the  lower 
side,  at  each  end  of  the  travelling  frame, 
under  the  wheel,  on  the  bow-string  prin- 
ciple. By  pushing  the  travelling  frame  to 
the  other  side,  the  cord  automatically  rotates 
the  wood  wheel,  which  at  the  same  time 
brings  the  attached  screen  up  in  front  of  the 
slide,  and  cuts  off  the  picture  during  the 
change. 

Dr.  JR.  Van  Gieson,  of  Brooklyn,  N.  Y., 
showed  a  plate-lifter,  made  of  metal,  which 
held  a  plate  clamped  between  its  spring 
jaws,  and  which  facilitated  the  transferring 
of  a  plate  from  one  dish  to  another  without 
dipping  the  fingers  in  the  solutions.  He 
also  exhibited  a  drop-shutter,  having  a  flat 
spring  attached  to  the  upper  part  of  the 
slide,  so  arranged  as  to  break  the  force  of 
the  shock  on  the  lens  caused  by  the  fall  of 
the  drop,  which  he  thought  might  in  time 
prove  hurtful  to  a  valuable  lens. 

Mr.  Beach :  The  next  thing  in  order  is 
the  consideration  of  the  Constitution  which 
has  been  submitted  by  the  Executive  Com- 
mittee. 

Mr.  Newton  :  I  move  that  the  considera- 
tion of  the  Constitution  be  postponed  until 
the  special  meeting,  which  will  probably  be 
on  the  evening  of  the  19th  of  June. 

Dr.  Janeway :  By  Mr.  "Newton's  permis- 
sion, I  will  amend  his  motion  by  adding 
that  when  this  meeting  adjourns  it  adjourn 
until  the  19th  of  June,  at  eight  o'clock. 

Mr.  Newton  :   I  accept  the  amendment. 

Mr.  Bogers  then  announced- to  the  Society 
that  an  electric  light  was  in  process  of  manu- 
facture for  use  for  lanterns  and  would  soon 
be  ready  for  exhibition,  and  asked  if  any  one 
knew  the  power  of  the  oxj'hydrogen  light. 

Mr.  Bockwood  replied  that  it  averaged 
350  candle  power. 

The  meeting  then  adjourned  until  Friday, 
June  19,  1885,  at  8  o'clock. 

The  Pacific  Coast  Amateur  Photo- 
graphic Association. — Begular  monthly 
meeting  held  May  7,  1885,  at  the  Associa- 
tion rooms,  No.  318  Pine  Street,  Vice-Presi- 
dent Lowden  in  the  Chair. 

After  regular  routine  business,  Mr.  Low- 
den exhibed  a  new  instantaneous  shutter, 


the  work  of  Mr.  McConnell  and  himself 
Many  of  the  members  considered  this  shutter 
nearer  perfection  than  any  yet  exhibited. 
As  the  P.  C.  A.  P.  A.  makes  a  specialty  of 
"  instantaneous  "  work,  the  subject  of  shut- 
ters is  always  a  leading  one. 

Without  diagrams  it  would  be  impossible 
to  describe  Mr.  Lowden's  shutter.  These 
diagrams  I  hope  soon  to  obtain,  and  will 
endeavor  to  forward  them  in  my  next  letter. 
On  this  subject  I  must  mention  an  in- 
genious invention  of  Mr.  McConnell's,  ex- 
hibited a  short  time  ago,  nicknamed  the 
"Butterfly,"  a  revolving  shutter  built  on 
the  middle  "  stop  "  of  a  No.  1  Darlot  hemi- 
spherical lens.  So  delicate  and  minute  are 
the  different  parts,  that  it  was  not  necessary 
to  enlarge  the  slot  in  the  lens,  but  the  stop, 
shutter,  and  all  slip  neatly  into  place. 
Some  exquisite  little  pictures  have  been 
made  with  this  shutter  on  4  x  5  plates. 

Mr.  Tyler  exhibited  a  set  of  fifty  instan- 
taneous views  taken  with  an  Anthony  novel 
half-plate  camera,  a  No.  2  Darlot  lens,  half 
inch  stop,  and  Passavant's  C.  2  P.  plates ; 
exposure  one-one-hundredth  of  a  second. 
Mr.  Tyler  travels  to  and  from  his  home  in 
Alameda  every  day  on  the  ferry  boats  cross- 
ing San  Francisco  Bay,  and  the  negatives 
from  which  these  pictures  were  made  were 
all  taken  in  transit.  No  tripod  was  used 
but  the  camera  held  in  the  hand,  and  the 
exposure  made  with  a  very  simple  but  rapid 
drop,  working  behind  the  lens.  None  of 
the  negatives  have  been  doctored  or  inten- 
sified, and  they  are  all  sharp  and  brilliant. 
"When  it  is  remembered  that  these  negatives 
were  taken  in  the  month  of  April,  at  from 
8.30  to  9  o'clock  a.m.  and  from  5  to  5.30 
p.m.,  and  many  of  them  under  a  very  cloudy 
sky,  the  results  must  be  considered  remark- 
able. Truly  photography  has  made  vast 
strides  when  a  busy  business  man  may  leave 
his  home  in  the  morning,  carrying  a  little 
light  hand  bag,  make  half  a  dozen  expo- 
sures on  his  way  to  business,  develop  in  the 
evening,  print  and  tone  on  Sunday,  and  at 
the  end  of  a  month  have  fifty  artistic  and 
interesting  pictures  to  show  for  his  pains, 
without  losing  a  single  minute  of  his  work- 
ing time. 

It  is  with  a  great  deal  of  pride  that  I  an- 
nounce the  fact  that  the  artists  of  San  Fran- 


THE   PHILADELPHIA    PHOTOGRAPHER. 


215 


cisco  have  at  last  become  enthusiastic  over 
photography,  and  we  expect  to  count  at 
least  a  dozen  of  them  among  our  members 
before  the  year  is  over. 

At  first  they  scoffed  at  the  idea  of  pho- 
tography being  able  to  help  them.  "  Me- 
chanical," "unprofessional,"  "inartistic," 
said  they.  At  last  they  are  convinced,  and 
now  some  of  the  men  who  were  the  greatest 
scoffers,  have  become  wildly  enthusiastic. 
This  is  right  and  proper,  and  we  shall  not 
be  envious,  though  they  leave  us  far  behind 
in  the  production  of  photographs  that  are 
"  pictures."  Technically  perfect  as  we  may 
be,  we  can  never  hope  to  obtain  the  culti- 
vated artistic  sense  of  these  artists,  and 
though  their  negatives  and  prints  may  not 
equal  ours  in  tone,  in  detail,  and  in  bril- 
liancy, yet  there  is  an  indispensable  some- 
thing about  them  which  distinguishes  them 
from  the  work  of  a  mere  photographer. 

Perhaps  I  am  straying  from  my  subject, 
as  I  started  in  to  write  a. simple  report  of  a 
meeting  of  the  Association,  bnt  there  are  so 
many  things  photographic  to  write  about 
that  my  pen  is  determined  to  stray. 

Dr.  Passavant,  after  the  close  of  the  busi- 
ness meeting,  delivered  a  lecture  upon  car- 
bon printing,*  showing  the  practical  work- 
ings of  the  single  and  double  transfer  process. 
I  enclose  a  report  of  the  lecture,  which  you 
may  make  such  use  of  as  you  see  proper. 
After  a  vote  of  thanks  to  Scovill  Mfg.  Co., 
The  Philadelphia  Photographer,  and 
the  Amateur  Photographer,  of  London,  for 
favors  received,  the  meeting  adjourned. 
W.  B.  Tyler, 

Cor.  Sec.  P.  C.  A.  P.  A. 


CHROME  ALUM  IN  SILVER  SOLU- 
TION FOR  ALBUMEN  PAPER 

The  question  will  be  asked,  Of  what  use 
is  it  there  ?  The  answer  to  this  is,  it  allows 
a  much  weaker  solution  of  silver  to  be  used, 
equalling  one  in  which  almost  twice  the 
amount  of  silver  has  been  used  to  produce 
the  same  result,  viz.,  brilliancy  and  the 
absence  of  softening  of  albumen  on  paper 
silvered  on  weak  solutions  of  silver  at  low 
temperature.  But  as  it  gains  here  it  also 
increases  the  tendency  to  blister  ;  but  this 

*  See  page  200. 


can  be  avoided  by  the  use  of  ammonia  in 
hypo,  and  also  in  the  salt  bath  after  the 
hypo ;  also  by  not  taking  them  out  of  the 
salt  bath,  but  letting  the  water  into  the  salt 
bath  gradually.  Paper  (silvered  on  this 
solution)  one  day  old  becomes  very  difficult 
to  tone  unless  a  very  large  amount  of  alkali 
is  used  in  the  toning  bath,  the  action  of  the 
alkali  being  to  soften  the  now  insoluble 
albumen  and  allow  its  being  toned.  I  add 
the  formula,  that  has  worked  well  on  the 
brilliant  albumen  papers  in  the  market: 


Nitrate  of  silver, 
Water,    . 
Nitric  acid,     . 
Chrome  alum. 


437i-  grains. 

12    ounces 

3    drops. 

5     grains. 


After  silvering  twelve  sheets  upon  this 
solution  add  the  same  amount  of  silver  solu- 
tion, composed  as  given.  By  experience  it 
has  been  found  that  one  ounce  of  silver  will 
silver  one  dozen  sheets  of  paper.  By  doing 
this  constant  good  prints  are  obtained,  and 
poor  ones  when  this  is  neglected.  Chrome 
alum  added  to  an  alkaline  silver  solution 
will  be  precipitated.  Its  good  effects  are  to 
be  had  only  from  an  acid  silver  solution. 
Hoping  this  may  be  a  benefit  to  your  readers, 
I  am  yours, 

Bell,  Photographer, 

Philadelphia,  Pa. 


OUR  PICTURE. 


The  great  amount  of  actinic  force  in  the 
electric  light  early  suggested  its  value  as  a 
means  for  photographic  illumination.  Vari- 
ous means  have  been  successfully  devised 
to  secure  beautiful  results,  involving  elab- 
orate machinery  and  appliances,  so  that 
special  studies  of  lighting  may  be  made  as 
well  by  night  as  by  daylight.  But  it  is  not 
often  that  such  excellent  results  are  secured, 
without  any  special  arrangement  in  the  dis- 
tribution of  the  light,  as  have  been  obtained 
in  the  picture  with  which  we  present  our 
readers  this  month. 

It  represents  a  view  of  a  portion  of  the 
beautiful  horticultural  exhibition  at  the 
"World's  Fair  at  New  Orleans.  The  foun- 
tain, with  its  numberless  jets  and  clouds  of 
spray,  is  finely  rendered. 

One  curious  effect  will  be  noticed.  The 
most  brilliant  portion  of  the  electric  arc  is 


216 


THE    PHILADELPHIA    PHOTOGRAPHER. 


rendered  darkest  in  the  photograph ;  the 
intensity  of  light  there  centered  has  had  a 
reversing  action,  and  a  positive  has  heen 
produced  upon  the  glass  instead  of  a  negative. 
The  prints  are  made  upon  the  celebrated 
N.  P.  A.  brilliant  albumen  paper,  furnished 
by  E.  &  H.  T.  Anthony  &  Co.,  591  Broad- 
way, N.  Y. 


VICISSITUDES  OF  GELATINE. 

BY    RANALD   DOUGLAS. 

In  a  former  article  I  have  spoken  of  spots. 
Further  experience  induces  me  to  speak 
again  on  the  same  subject.  Eepeated  ex- 
perimenting has  convinced  me  of  the  cor- 
rectness of  my  observation  that  the  keeping 
of  emulsion  before  use  tends  to  do  away  with 
spots,  besides  it  favors  uniformity  of  sensi- 
tiveness from  edge  to  edge.  Take  fresh 
emulsion  and  coat  a  plate  and  dry  it  and 
try  it.  You  will  probably  observe  that  it 
works  somewhat  irregularly,  and  that  those 
parts  that  were  slowest  to  dry  are  the  most 
sensitive.  By  keeping  the  emulsion  the 
strain  is  taken  off  and  it  dries  evenly.  I 
think  nothing  of  giving  my  emulsion  a- full 
month  to  ripen.  I  always  put  in  a  few 
drops  of  carbolic  acid  and  a  little  alcohol,  to 
prevent  decomposition.  The  alcohol  must 
be  of  standard  purity,  for  inferior  alcohol 
contains  fusel  oil,  which  is  detrimental  to 
the  purity  of  the  emulsion. 

The  best  way  to  avoid  spots  or  scum  mark- 
ings, is  by  carefully  skimming  the  gelatine 
solutions,  after  allowing  them  to  stand,  say 
ten  minutes,  before  adding  salts  and  silver. 
By  allowing  gelatine  to  stand  it  will  be  seen 
that  scum  collects  on  top,  which,  if  permitted 
to  remain,  will  certainly  spoil  the  emulsion. 
As  far  as  my  observations  go,  it  makes  no 
difference  whether  emulsification  is  carried 
on  at  a  high  or  a  low  temperature ;  these 
spots  will  come  or  not  all  the  same.  Wash- 
ing has  no  difference  either.  Skimming  and 
ripening  do  the  work  very  effectively. 

It  seems  now  many  makers  simply  polish 
the  glass  instead  of  using  a  substratum. 
Unless  the  polishing  is  carefully  done,  it 
certainly  gives  lines  and  streaks  on  plates, 
as  though  they  were  scratched  especially  on 
strippers.  Why  not  usesilicateof  potash?  It 
is  easily  applied,  cheaper  than  albumen,  and 


the  emulsion  flows  over  a  silicate  substratum 
as  easily  as  varnish  does.  I  have  never  ob- 
served a  reappearance  of  old  picture  with 
the  new  one  on  plates  thus  treated. 

The  practice  of  packing  plates  between 
separators  cut  out  of  poor  quality  straw 
boards  is  to  be  severely  condemned.  They 
contain  substances  injurious  to  the  fine 
chemical  composition  in  the  plates,  and 
give  rise  to  insensitive  patches  and  borders 
so  often  complained  of.  Plates  packed 
with  separators  cut  out  of  good  No.  1  pho- 
tographic boards  do  not  seem  to  spoil,  at 
least  not  in  my  experience.  Alas  !  for  all 
warning  voices  we  can  raise,  it  seems  the 
mauufacturers  only  laugh  at  us,  and  con- 
tinue in  the  same  old  ruts,  give  us  bad 
separators,  and  think  they  know  more  than 
we  poor  consumers  do  (?).  I  hope  to  hear 
from  others  on  the  subject,  so  I  close. 


PHOTOGRAPHY  AT  THE  NEW 
ORLEANS  EXHIBITION. 

(Continued  from  page  172.) 

The  scenery  in  Watkins'  Glen  is  also 
carefully  attended  to  by  ten  8  x  10  views  of 
excellent  quality,  of  which  the  photogra- 
pher need  not  have  been  so  ashamed  as  to 
refuse  to  give  us  his  name.  The  walls  of 
the  New  York  headquarters  are  decorated 
with  a  large  collection  of  photographs  of 
public  buildings  of  New  York  and  Albany, 
and  a  large  series  of  interior  views  of  the 
residence  of  a  New  York  millionaire,  pho- 
tographed by  F.  L.  Howe,  of  New  York. 
The  Notman  Photographic  Company,  of 
Albany,  N.  Y.,  are  represented  by  a  frame 
of  views  of  one  of  the  collegiate  institutions 
of  the  State.  This  same  Company  exhibit 
their  combination  picture  of  the  members 
of  the  Senate  and  House  of  Representatives 
of  New  York  ;  also  a  fine  series  of  the 
Capitol  at  Albany  and  other  public  build- 
ings, interior  and  exterior,  which  are  very 
fine.  Mr.  P.  L.  Howe  is  again  made  useful 
by  the  exhibit  of  a  series  of  views  of  the 
Camp  of  Instruction  of  the  National  Guards 
of  New  York.  Vassar  College  makes  a  fine 
display  of  photographs,  probably  by  some  of 
the  students,  of  the  various  departments  of 
its  work,  the  library,  the  chapel,  the  art 
gallery,    the  studio,  the  dining   room,   the 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


217 


museum,  the  observatory,  and  various  other 
views  of  the  college.  In  one  of  the  views  of 
the  observatory,  in  a  group,  is  a  fine  portrait 
of  Miss  Maria  Mitchell,  the  veteran  as- 
tronomer. The  quality  of  these  photo- 
graphs is  admirable.  The  educational  in- 
stitutions of  New  York,  and  their  various 
departments,  make  a  fine  display  of  their 
buildings,  and  of  their  professors,  by  means 
of  a  series  of  heliotypes,  or  phototypes,  made 
by . 

New  Jersey.  In  the  New  Jersey  depart- 
ment we  find  photography  used  to  explain 
to  the  interested  public  (he  advantages  of 
the  watering  places  of  the  New  Jersey  coast, 
the  scenery  upon  its  railroads,  and  the  at- 
tractions of  its  colleges.  Among  the  pho- 
tographers who  are  made  useful  in  this 
direction  are  Mr.  J.  Reid,  Patterson,  N.  J.  ; 
Gilbert  &  Bacon,  Philadelphia  ;  Pach  Bros., 
New  York  ;  W.  C.  Thomas.Vineland,  N.  J.  ; 
and  R.  Newell  &  Sons,  Philadelphia.  Some 
fine  interior  views  of  New  York  residences 
have  crept  into  this  section,  made  by  Pach 
Bros.,  and  are  hard  to  beat.  Some  New 
Jersey  "farm  homes"  are  illustrated  by 
two  frames  of  fine  photographs ;  the  series 
includes  over  fifty  views,  but  by  whom  they 
are  made  we  know  not.  The  New  Jersey 
State  Lunatic  Asylum  at  Trenton,  N.  J.,  is 
finely  illustrated  also.  Schrieber  &  Sons 
are  again  represented  by  a  fine  frame  of 
photographs  of  Jersey  stock,  underneath 
which  hangs  a  frame  of  portraits,  by  Pach 
Bros.,  of  very  excellent  quality.  Among 
these  the  portraits  of  Dr.  Oliver  Wendell 
Holmes  and  Professor  Henry  W.  Longfellow 
are  seen. 

Pennsylvania.  Pennsylvania  employs 
photography  to  illustrate  the  features  of  her 
Indian  Industrial  School  at  Carlisle,  Pa. 
Several  frames  are  here  containing  views 
of  the  school,  of  classes,  of  the  various  apart- 
ments and  departments,  and  the  work  of  the 
pupils.  One  group  of  the  students  contains 
as  many  as  two  hundred  Indian  children. 
Choate  was  the  photographer,  at  Carlisle, 
Pa.  Near  these  we  find  a  collection  of 
views  of  cascades  and  waterfalls  in  Pike 
County,  Pa.  The  manufacturer  of  "Ideal 
Tooth  Powder  "  uses  photography  here  very 
largely  to  illustrate  the  advantages  of  his 
manufactures.     J.  D.  Harper,  manufacturer 


of  carriages,  employs  photography  for  a 
similar  purpose,  and  the  Lehigh  Valley 
Railway  Co.  is  most  liberal  in  its  display  of 
photographs  of  natural  scenery  along  its 
route.  Messrs  Newell  &  Sons,  of  Philadel- 
phia, exhibit  several  very  fine  views,  exte- 
rior and  interior,  of  Girard  College  ;  those 
of  the  dining-room,  the  iron  and  wood  work 
departments,  are  very  creditable.  The 
Geyser  Manufacturing  Company,  Waynes- 
burg,  Pa,,  illustrate  their  manufactures  of 
farm  engines,  truck  engines,  sawmills,  and 
farm  machinery  by  means  of  photography, 
together  with  a  panoramic  view  of  their 
manufactory.  The  coal  interests  of  Penn- 
sylvania are  very  amply  illustrated  by 
photography.  One  view,  17x21,  of  a  coal 
breaker,  is  a  very  fine  photograph.  The 
services  of  Mr.  H.  Prank  Beidel,  Shippens- 
burg,  Pa.,  are  used  to  show  us  the  beauties 
and  advantages  of  the  stock  farm  near  his 
residence.  The  work  is  excellent.  The 
scenery  along  the  Pennsylvania  Railroad 
is  carefully  attended  to  by  Mr.  F.  Gute- 
kunst,  Philadelphia,  in  a  long  line  of  pano- 
ramic views,  some  of  which  are  at  least 
forty  inches  in  length.  Photography  in 
this  department  of  Pennsylvania  seems  to 
have  taken  rather  an  industrial  turn,  and 
we  find  that  in  this  service  Messrs.  Smith  & 
Nichols,  Samuel  McMullen,  Jr.,  J.  Reid, 
and  R.  Newell  &  Sons  have  been  largely 
made  use  of.  The  Taylor  Manufacturing 
Company,  manufacturers  of  gauges,  mills, 
and  agricultural  implements,  also  display  a 
very  beautiful  series  of  photographs  of  their 
manufactures. 

Maryland.  The  Western  Maryland 
Railroad  makes  a  fine  display  of  scenery 
along  its  various  routes,  from  negatives  by 
Bachrach  Bros.,  Baltimore,  and  H.  Frank 
Beidel,  Shippensburg,  Pa.  These  vary  in 
size  from  stereoscopic  views  to  14  x  17,  and 
some  of  them  are  remarkably  fine.  Mr.  W. 
H.  Jackson,  Denver,  Col.,  is  again  called 
into  service  by  the  Baltimore  and  Ohio  Rail- 
road Company,  and  well  has  he  responded. 
Some  of  his  views  here  are  simply  magnifi- 
cent. One  of  them,  a  sectional  view,  is 
nearly  six  feet  in  length.  The  work  is 
magnificent,  and  in  Mr.  Jackson's  best 
style.  No  people  seem  to  understand  better 
the    advantages  of  photographic   advertis- 


218 


THE    PHILADELPHIA    PHOTOGPAPHEK. 


ing  than  do  the  managers  of  picturesque 
railways  ;  no  people  are  more  attracted  by 
picturesque  scenery  than  are  the  American 
people,  and  the  railways  well  understand 
that  if  they  can  place  pictures  before  people, 
they  attack  nothing  with  more  avidity  than 
that  enterprise  which  is  devoted  to  finding 
out  the  truths  of  photographs  by  actual  in- 
spection. Photographers  are  becoming  so 
artistic  now-a-days,  and  the  public  possess 
so  little  the  faculty  of  seeing  bits,  that 
sometimes  a  view  has  to  be  fully  explained 
before  it  becomes  understood,  lest  the  pho- 
tographer should  be  mortified  by  hearing 
the  exclamation,  "Why,  where  is  that?" 
The  Baltimore  Manual  and  Training  School 
exhibits  a  series  of  four  large  photographs 
of  its  school,  and  of  groups  of  the  pupils. 
Harlan  &  Hollings worth,  car  builders,  dis- 
play several  frames  of  photographs  of  their 
most  beautiful  conveyances. 

Delaware.  Also  in  the  Delaware  section 
we  find  the  manufactures  of  Messrs.  Helles 
&  Jones  carefully  photographed  in  a  large 
series  of  photos. 

Arkansas.  Mr.  F.  F.  Tyler  and  Calohan 
Bros.,  both  of  Eureka  Springs,  Ark.,  ex- 
hibit three  frames  of  fine  views  of  natural 
scenery  and  bits  of  the  springs. 

Missouri  and  St.  Louis  are  not  represented 
by  photography  in  this  building,  as  far  as 
we  can  find.     Neither  is  Alabama. 

United  States  Government.  We  now 
leave  the  States  departments,  and  come 
upon  the  United  States  collection  of  photo- 
graphs found  in  the  various  exhibits  of  the 
United  States  Government.  We  start 
with  the  North,  and  meet,  first,  the  collec- 
tion from  the  negatives  made  by  the  G-reely 
Arctic  expedition,  a  series  of  views  that  has 
been  frequently  noticed  in  this  magazine 
before,  and  is  a  most  interesting  one.  It 
consists  of  the  natural  scenery  of  the 
country,  groups  of  the  natives,  of  the  is- 
lands, of  the  coast,  of  the  workings  of  the 
ill-fated  crew,  of  their  ships,  dogs,  groups 
of  members  of  the  expedition,  and  what- 
not, making  a  most  sad  but  interesting 
series.  Here,  too,  we  see  represented  the 
steering  gear,  the  sledge,  scenes  on  the 
decks  of  the  various  ships,  the  chui-ch  at 
Godhaven,  loaded  sleds,  fish  drying  (an  in- 
teresting   scene),   the    toboggin    sled,   and 


last,  though  by  no  means  least,  the  photog- 
rapher and  his  camera,  his  head  under  the 
focussing  cloth,  busily  at  work.  In  this  col- 
lection, too,  we  see  pictures  illustrating  the 
whaling  interests  of  this  cold  northern 
country;  implements,  whale  fishing  and 
whale  hunting.  The  saddest  of  all  the 
scenes  is  a  view  of  Camp  Clay,  where 
Greely  and  party  were  found,  taken  a  few 
minutes  after  the  discovery.  The  tent  had 
been  propped  up  by  the  officers  of  the 
"Alert  "  and  "  Bear."  The  apologetic  note 
at  the  bottom  of  the  picture  says,  "  Picture 
badly  taken  owing  to  the  severe  gale  blow- 
ing at  the  time."  In  keeping  with  this, 
close  by  is  the  funeral  procession  of  Fred- 
erick Christensen.  The  whole  series  tells 
us  more  truthfully  than  anything  else  that 
photography  can  tell  of  the  preparation, 
hardships,  and  endurance  of  men  who,  for 
the  sake  of  science,  risked  life  and  all  that 
is  dear,  and  also  how  they  sometimes  pay 
the  penally  by  the  loss  of  life. 

Near  these  the  Arctic  expedition  of  1869, 
by  our  good  friend,  Mr.  William  Bradford, 
the  famous  painter,  is  seen.  A  number  of 
the  original  drawings  of  Mr.  Bradford  ac- 
company this  collection.  Their  general 
character  is  much  the  same  as  those  of  the 
Greely  expedition,  though  not  so  numerous. 

The  United  States  Lighthouse  establish- 
ment uses  photography  to  show  us  the  vari- 
ous lighthouse  stations  of  our  country  from 
the  Pacific  coast  to  the  Atlantic,  and  from 
the  Lakes  to  the  Gulf.  Some  of  them  vary 
very  much  from  the  typical  lighthouse 
which  we  are  accustomed  to  see,  such  as 
those  on  the  New  Jersey  coast,  where  we 
find  very  pretty  architecture.  "  The  old 
Sandy  Hook  Lightship  "  is  included  in  this 
series,  and  helps  make  up  the  interesting 
variety. 

The  United  States  Treasury  Department 
exhibit  the  court  houses,  the  post  offices, 
and  a  very  fine  collection,  not  only  of  the 
complete  buildings  themselves,  but  of  some 
of  the  details  of  architecture.  The  latter 
are  exceedingly  fine.  Among  them  we  see 
studies  from  the  United  States  buildings  at . 
Memphis,  Tenn. ;  Atlanta,  Ga. ;  Boston, 
Mass.  ;  St.  Lonis,  Mo.  ;  and  Philadelphia, 
Pa.  The  photographer,  as  usual,  is  sub- 
merged by  the  architect,  and  his  name  is 


THE    PHILADELPHIA    PHOTOGKAPHEP. 


219 


not  given,  but  the  architect  resorts  to  pho- 
tography to  make  a  display  of  his  drawings, 
which  have  been  very  carefully  photo- 
graphed by  some  one,  and  make  up  a  part 
of  this  collection. 

The  United  States  Department  of  Agri- 
culture likewise  employs  photography  to 
illustrate  its  buildings  and  grounds,  and 
here  the  collection  is  not  only  a  very  inter- 
esting, but  a  very  beautiful  one.  The 
views  are  splendidly  taken,  and  are  of  the 
conservatories,  library,  sorghum  factory, 
sorghum  fields,  weighing  room,  room  of 
the  botanist,  various  kinds  of  trees,  flower 
gardens,  terraces,  lawns,  nurseries,  graperies, 
families  of  pond  lilies,  vineyards,  and  a  large 
collection  of  the  departments  devoted  to  the 
packing  and  distribution  of  seeds,  including 
various  views  of  the  seed  building,  of  the 
microscopist,  the  laboratory,  the  folding 
room,  the  packing  room,  commissioners' 
room,  museum,  a  hundred  methods  of 
stamping  and  packing  seeds,  and  last  of  all 
the  mail  wagon,  which  carries  the  product 
of  this  great  and  useful  establishment  to  the 
post  office,  whence  it  is  distributed  through- 
out the  world.  The  collection  devoted  to 
trees,  shrubbery,  evergreens,  etc.,  is  a  mag- 
nificent one,  which  displays  skill  on  the 
part  of  the  photographer  in  working  in- 
stantaneous plates  equal  to  that  of  the  pho- 
tographer in  the  Zoo. 

In  the  Patent  Office  Department  of  the 
United  States,  lying  in  among  the  myriads 
of  models,  is  a  fine  collection  of  photo- 
graphic copies  of  engravings  of  some  of  the 
old-time  inventors  of  our  country.  We 
also  see  among  these  a  life-sized  portrait 
of  our  veteran  and  lamented  friend,  Henry 
T.  Anthony,  Esq.,  together  with  a  number 
of  other  specimens  of  work  by  the  Air  Brush. 
Mr.  T.  W.  Smilie,  brave  man,  puts  his 
name  on  his  work. 

The  United  States  National  Museum  ex- 
hibits in  this  department  a  large  series  of 
enlargements,  50  x  80  inches,  of  the  various 
public  buildings  of  Washington,  showing 
the  Smithsonian  Institution,  Bureau  of  En- 
graving and  Printing,  Pension  Office,  De- 
partment of  Justice,  Treasury,  and,  in  fact, 
all  the  principal  public  buildings  of  Wash- 
ington, probably  the  largest  solar  enlarge- 
ments ever  exhibited.     They  are  carefullv 


worked  over,  but  are  marvellous  bits.  At 
the  end  of  the  Patent  Office  Department  is  a 
frame  similar  to  the  one  in  the  photographic 
section,  by  the  Moss  Photo-Engraving  Com- 
pany, New  York,  illustrative  of  the  photo- 
engraving process  practised  by  them.  The 
negative,  the  positive,  the  plaster  cast,  the 
stereotype  plate,  and  the  electrotype  plate, 
followed  by  the  proof  made  from  the  fin- 
ished plate,  are  all  here.  A  large  series  of 
blue  prints,  illustrative  of  water  works 
machinery,  is  also  displayed  here. 

The  United  States  General  Land  Office 
exhibit  makes  a  larger  use  of  photography 
than  any  other  department.  Here,  again, 
our  friend  Mr.  Jackson  comes  into  service 
with  a  splendid  series  of  views  of  the  Kocky 
Mountains.  Then  we  have  other  collections 
illustrating  mining,  quarrying,  transporta- 
tion, travel,  the  oil  interests,  and  the  topog- 
raphy of  our  country,  almost  without  limit. 
A  fine  portrait  of  Prof.  N.  C.  McParland, 
Commissioner  of  the  United  States  General 
Land  Office,  attracts  our  eye  as  we  enter 
the  doorway  of  this  splendid  department. 
Another  one,  of  Dr.  L.  Harrison,  Assistant 
Commissioner,  hangs  over  the  other  door- 
way. 

The  United  States  Geological  Survey  and 
Bureau  of  Ethnology  is  also  dignified  and 
elaborated  by  fine  collections  of  photographs. 
Mr.  Jackson  again  comes  into  requisition, 
and  from  his  negatives  we  see  a  magnificent 
collection  of  scenery  in  Colorado,  Idaho, 
along  the  Southern  Pacific  Railroad  and 
Central  Pacific  Railroad,  Nevada,  Arizona, 
etc.  These  illustrate  bridge  building,  rail- 
road construction,  the  natural  scenery  and 
geology  of  the  country,  its  lakes,  mines, 
canons,  horns,  and  snow-clad  peaks  to  per- 
fection. The  collection  includes  a  copy  of 
Mr.  Thomas  Hill's  painting  of  the  scene 
which  occurred  near  "Promontory  Point," 
Utah,  May  10,  1869,  at  the  junction  of  the 
Union  and  Pacific  Railroads,  called  "  Driv- 
ing the  Last  Spike,"  a  picture  full  of  thrill- 
ing interest.  What  a  country  this  is,  and 
how  little  we  should  know  about  it  were  it 
not  for  blessed  photography.  The  United 
States  Geological  Survey  is  certainty  en- 
titled to  a  premium  for  the  best  collection 
of  transparencies  that  the  world  ever  knew. 
Here,  against  the  eastern  windows  of  th'e 


220 


THE   PHILADELPHIA    PHOTOGEAPHEE. 


Government  Building,  is  a  collection  of 
ninety-six  transparencies,  27  x  33  inches,  il- 
lustrating Indian  life  in  Utah,  Arizona, 
Colorado,  New  Mexico,  etc.  Here  are  not 
only  groups  of  Indians  of  various  tribes,  but 
natural  scenery,  eroded  rocks,  adobe  vil- 
lages, grand  canons,  elk  skin  tents,  roaring 
rivers,  cave  homes,  lofty  peaks,  Indian 
transportation,  natural  monuments,  cathe- 
drals, cascades,  and  impregnable  gates, 
which  seem  to  be  of  another  world,  on  such 
a  magnificent  scale  are  they.  Thanks  to 
the  Creator  of  all  these  natural  beauties,  we 
are  fully  informed  as  to  the  photographer 
of  the  occasion,  who  is  our  talented  friend, 
Mr.  Hillers,  of  "Washington.  Mr.  Hillers' 
grand  composition  group  of  "  Two  Old 
Boys"  is  unique,  and  a  decided  ethnologi- 
cal and  entomological  gem. 

A  series  of  about  two  hundred  or  m,ore 
views  illustrative  of  the  fishing  interests  of 
our  country,  which  it  shows  from  the  time 
the  vessel  sets  sail  for  the  fishing  banks  to 
the  packing  and  shipping  of  the  finished 
product.  Here  the  homes  of  the  fishermen, 
men  hauling  in  their  nets,  the  packing  of 
fish,  shipping  glue,  in  fact  everything  that 
pertains  to  that  important  element  of  food 
for  the  market.  Some  pretty  instantaneous 
views  of  fishing  schooners  are  included  in 
this  series. 

The  Smithsonian  Institution  and  United 
States  National  Museum  have  contributed 
very  much  to  the  artistic  enjoyment  of 
visitors  to  this  department  by  the  exhibi- 
tion of  a  large  collection  of  Braun's  carbon 
prints  of  the  works  of  art  in  the  museums 
of  Europe.  Old  familiar  friends  are  found 
in  this  collection,  such  as  we  have  studied 
in  the  Vatican,  in  the  Museum  of  Florence, 
and  in  the  Louvre.  Added  to  these  is  a 
collection  of  silver  prints,  from  various 
sources,  of  the  gems  of  the  collections 
already  named. 

The  United  States  Taxidermic  collection 
is  also  materially  beautified  by  a  collection 
of  photographs  of  animals  and  birds. 

Coal  mining  is  illustrated  in  the  Depart- 
ment of  Economic  Geology  by  a  series  of 
30  x  40  solar  enlargements,  which  are  of  coal 
planes,  slopes,  interiors  of  coal  mines,  and 
drills,  tunnels,  drifts,  inclined  planes,  coal 
railways,  and  machinery  for  breaking,  assort- 


ing, and  loading  coal,  a  very  interesting  series, 
taken  undoubtedly  by  magnesium  light,  but 
by  whom  we  are  not  told.  Another  series  of 
views  illustrates  the  quarrying  of  marble 
and  building  stone  in  various  sections  of 
our  country,  also  drilling  and  tunnelling, 
together  with  machinery  for  use  in  salt  and 
oil  well  boring,  and  the  diamond  drill  for 
boring  artesian  wells.  On  the  last  named 
photographs  we  have  made  a  happy  dis- 
covery ;  we  note  the  name  of  the  photog- 
rapher, Mr.  C.  E.  Cook,  of  Wilkesbarre, 
Pa.  Boiling  mills,  locomotives  for  the 
transportation  of  oil,  coal,  and  other  spe- 
cialties are  also  illustrated  in  this  section  by 
means  of  photography. 

Around  the  beautiful  moresque  building 
of  the  United  States  Post  Office  Depart- 
ment are  lines  of  photographs  of  the  post 
office  building  in  Washington,  interior  and 
exterior;  of  the  United  States  Government 
Post  Office  Building  at  the  Centennial  Ex- 
position, 1876,  interior  and  exterior,  particu- 
larly the  part  showing  the  post  office  work 
there.  Then  there  are  photographs,  with- 
out number,  of  groups  of  post  office  officials, 
attendants,  letter  carriers,  etc.  The  photo- 
graphs of  the  Foreign  Post  Office  Buildings 
are  also  hung  here.  One  very  pretty  pho- 
tograph, by  C.  Lang,  Chur,  is  of  the  post 
station  at  Chur,  where  some  forty  postal 
carriages  are  in  line  at  each  side  of  the 
building ;  a  very  excellent  picture.  The 
same  may  be  said  of  the  photograph  of  the 
"Voiture  Postale,"  1060,  which  reminds 
us  of  the  old-time  days  when  stage  coaches 
were  used.  A  very  curious  photograph  of 
the  post  office  at  Bale,  Switzerland,  repre- 
sents a  curious  case  of  distortion.  The 
photographer  has  evidently  erected  a  struc- 
ture upon  which  to  place  his  camera,  and 
then,  looking  downwards,  has  taken  his 
building  almost  diamond  shape.  Other 
photographs  are  of  steamers,  coaches,  build- 
ings, cabriolets  employed  on  local  routes, 
railway  postal  cars,  and  other  equipments 
pertaining  to  the  postal  service.  A  very 
pretty  group  of  the  postmaster  and  staff  of 
Nashville,  Tenn.,  is  here,  and  it  is  a  pity 
that  the  name  of  the  photographer  should 
be  hidden  from  the  public  because  of  his 
good  work.  The  interior  of  the  post  office 
at   Louisville,  Ky.,   by  our  friend,  J.   H. 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


221 


Doerr,  is  quite  pretty,  and  a  group  of 
officials  of  the  post  office  at  Chicago  is 
placed  here  by  Mr.  C.  D.  Mosher. 

Then  we  have  photographs  of  letter  boxes, 
pouches,  and  other  paraphernalia  pertaining 
to  this  department,  all  of  which  go  to  show 
how  useful  photography  is.  Near  the  en- 
trance of  the  building  is  the  St.  Louis  post 
office  group,  very  prettily  mounted,  with  a 
photograph  of  the  post  office  by  our  friend,  J. 
A.  Seholten.  The  San  Francisco  post  office 
official  group,  however,  takes  the  palm,  not 
exactly  because  of  the  good  photography  of 
Mr.  Nieman,  but  because  of  the  very  pretty 
and  elaborate  design  by  Eisenchiemer  which 
surrounds  it.  The  New  Orleans  post  office 
group  is  embellished  by  a  very  pretty  de- 
sign by  Annie  M.  Gulick,  but  she  has  for- 
gotten to  balance  her  own  name  by  that  of 
the  photographer  on  the  other  side.  "  Pity 
'tis,  'tis  true." 

(To  be  continued.) 

GLEANINGS. 

Mr.  Barker  has  just  given  to  the  Pho- 
tographic Association  of  London  his  formula 
for  the  preparation  of  positive  paper  with  the 
chlorinetted  emulsion.     He  takes 

Gelatine    (Nelson    &    Coignet), 

equal  parts  of  each,        .         .     175  parts. 

Chloride  of  Ammonium,    .         .       16      " 

Rochelle  Salts  (Tartrate  of  Pot- 
ash and  Soda),        .         .  50      " 

Nitrate  of  Silver,       .         .         .       75      " 

Methylic  alcohol,        .         .         .     120      " 

Water 2400      " 

The  salts  are  dissolved  in  water,  then  the 
gelatine  is  added  ;  after  this  last  has  soaked 
a  short  time,  heat  and  melt;  the  tempera- 
ture should  reach  about  101°  Fah.  ;  then  the 
nitrate  of  silver  is  to  be  added.  The  emul- 
sion is  kept  at  this  temperature  for  ten  min- 
utes, before  adding  the  methylic  alcohol, 
after  which  the  emulsion  may  be  poured  out 
to  set.  Yery  little  washing  is  sufficient  and, 
if  necessary,  it  can  be  used  without  washing. 

At  the  London  Photographic  Society  a 
discussion  arose  in  regard  to  the  different 
modes  of  drying  gelatine  plates.  Mr.  Davids 
advised  the  use  of  a  drying  box  in  which 
there  should  be  two  inches  of  interval  be- 
tween the  plates,  so  that  there  may  be  a  free 


circulation  of  air.  Mr.  Cadet  uses  a  metallic 
box  with  a  double  bottom,  heated  by  gas, 
for  small  operations,  but  for  large  ones,  he 
says,  nothing  is  better  than  a  room  heated 
by  hot  water.  Mr.  Debenham  remarked 
that  it  is  not  absolutely  necessary  that  the 
drying  should  be  limited  to  from  eight  to 
twenty-four  hours,  as  has  recently  been 
stated  by  a  photographer.  Mr.  Spiller  uses 
quicklime  in  the  drying  box  as  being  better 
and  more  economical  than  chloride  of  cal- 
cium. 

Thd  following  formula  for  a  rapid  positive 
paper   was   recently  communicated   to   the 
photographic  section  of  the  Polytechnic  So- 
ciety of  St.  Petersburg,  by  its  secretary  : 
No.  ]. 
Nitrate  of  Silver,       .         .         .100  parts. 
Citric  Acid,         .         .         .         .     100      " 

Water, 1000      " 

No.  2. 
Chloride  of  Sodium,  .         .         .35      " 
Bromide  of  Potassium,       .  25      " 

Gelatine, 40      " 

Water, 1000      " 

Mix  the  two  solutions  at  a  temperature  of 
140°  Fahr.,  then  add  250  parts  of  Heinrich 
gelatine,  which  has  previously  been  soaked 
in  water.  "When  the  whole  is  set  pass  it 
through  canvas  having  openings  of  one-sixth 
of  an  inch  ;  the  filaments  thus  produced  re- 
quire but  an  hour  of  washing  in  running 
water.  After  washing,  melt  again  and  add 
two  ounces  of  glycerine.  The  paper  is  now 
coated.  It  should  be  of  a  uniform  texture 
and  previously  moistened. 

Mr.  Leon  Vidal  has  just  made  some  in- 
teresting experiments  on  the  dissolving  ac- 
tion of  sulphocyanide  of  ammonium,  either 
in  the  development  of  carbon  points,  or  in 
the  making  of  gelatine  reliefs.  These  ex- 
periments were  entirely  successful.  Without 
heat,  sulphocyanide  dissolves  the  mixtures 
of  gelatine  and  coloring  matter,  such  as  are 
used  in  the  carbon  process ;  and  in  regard 
to  the  Woodburytype  or  other  reliefs,  a 
much  more  rapid  result  is  obtained  than 
with  warm  water  alone  in  dissolving  all  the 
gelatine  not  acted  upon  by  the  light.  It 
is  interesting  to  note  that  the  sulphocyanide 
of  ammonium  has  no  action  whatever  on  the 
exposed   bichromatized   gelatine;    there   is 


222 


THE    PHILADELPHIA    PHOTOGPAPHEP. 


nothing,  therefore,  to  fear  for  the  delicate 
half-tones.  This  solution  is  considerably 
quickened  by  beating  the  bath.  It  is  a 
curious  fact  that  this  product  does  not  act  in 
the  same  manner  upon  pure  gelatine  sheets. 
After  an  immersion  of  twenty-four  hours  in 
a  15  per  cent,  cyanide  bath,  a  sheet  was  con- 
siderably  swollen    but    not   dissolved;    the 


addition,  however,  of  a  little  warm  water  to 
the  bath,  sufficed  to  produce  immediate  so- 
lution, and  the  gelatine,  immersed  in  pure 
water  for  the  same  length  of  time,  was  only 
half  as  much  swollen.  The  present,  there- 
fore, constitutes  a  valuable  resource  for  those 
who  have  to  do  with  exposed  bichromatized 
gelatine. 


In  our  extract  from  the  Detroit  Free  Press 
(Editor's  Table),  wherein  comment  is  made  upon 
the  excellent  photographic  work  of  Mr.  W.  H. 
Allen,  of  Detroit,  Mich.,  an  error  was  inad- 
vertently made  by  giving  the  place  of  abode  of 
Mr.  Allen  at  Grosse,  111.  The  gentleman,  in  a 
pleasant  and  courteous  letter,  reminds  us  of  the 
mistake,  asking  "  Where  is  the  place  ?  Grosse, 
III.,  which  seems  to  be  nowhere,  least  of  all  in 
Michigan.  Mr.  Allen's  residence  is  at  Grosse 
Isle,  Mich.,  a  Detroit  suburb,  but  his  business  and 
sale  of  the  celebrated  Suter  Lens  is  carried  on  at 
Nos.  14  and  16  B.  Lamed  Street,  Detroit,  Mich. 
We  are  sorry  for  the  blunder,  but  are  glad  that 
we  have  just  here  an  opportunity  to  speak  of  the 
wonderful  properties  of  these  lenses,  which  have 
an  extraordinary  depth  of  focus,  a  clearness  of 
definition,  and  a  rapidity  of  action,  which 
leave  nothing  to  be  desired. 


AVe  have  received  a  little  pamphlet  from  Dr. 
Charles  F.  Himes,  of  Dickinson  College,  Car- 
lisle, Pa.,  setting  forth  the  advantages  to  be  de- 
rived from  a  sojourn  with  the  Summer  School  of 
Photography,  the  second  session  of  which  is  to 
be  held  this  year  from  July  22d  to  August  5th, 
at  Mountain  Lake  Park,  a  tract  of  over  eight 
hundred  acres  of  beautiful  country  in  Garrett 
County,  Md.  Upon  the  east  is  the  romantic  Seven- 
teen Mile  Grade,  upon  the  west  the  still  more  won- 
derful Cheat  River  Grade,  with  its  magnificent 
scenery.  A  few  miles  away,  at  Eagle  Rock,  the 
edge  of  the  plateau  is  gained  and  a  broad  out- 
look is  given  over  the  Potomac  Valley,  or  in 
another  direction,  at  the  distance  of  ten  miles, 
the  summit  of  the  loftiest  range  of  the  Alle- 
ghenies  is  reached,  from  which  the  country  may 
be  viewed  over  a  radius  of  thirty  miles.  Abun- 
dant facilities  are  offered  for  excursions  to  these 
points  at  trifling  cost.  The  school  is  under 
the  direction  and  control  of  Dr.  Himes,  who  is 
an     amiable     scientific    gentleman    thoroughly 


versed  in  all  the  details  of  the  science — a  most 
efficient  instructor.  The  school  offers  every 
facility  to  those  desirous  of  gaining  proficiency. 
All  inquiries  for  information  in  regard  to  the 
Summer  School  of  Amateur  Photography,  and 
all  applications  for  admission  to  the  School, 
should  be  addressed  to  Mountain  Lake  Park 
Association,  Box  434,  Baltimore,  Md. 

We  have  received  a  leaflet  from  Messrs.  Bu- 
chanan, Smedley  &  Bromley,  the  enterprising 
stockdealers  of  this  city,  announcing  that  they 
have  succeeded  in  securing  reduced  rates  for  the 
fraternity  to  attend  the  great  Buffalo  Convention 
via  the  beautiful  Lehigh  Valley  route.  Through 
express  trains  leave  Ninth  and  Green  Streets, 
Philadelphia,  at  9  a.m.  and  8  p.m.  Round-trip 
tickets  from  Philadelphia  $9.00;  tickets  good' 
for  fifteen  days  (July  10th  to  25th,  inclusive). 
Orders  for  tickets  on  the  LehighValley  R.  R.  Co., 
836  Chestnut  Street,  Philadelphia,  at  these 
special  low  figures,  can  be  secured  only  by 
applying  to  the  above  firm,  25  N.  Seventh 
Street,  Philadelphia. 


Picture  Received. — From  Mr.  W.  H.  Kibbe, 
Johnstown,  N.  Y.,  several  views  of  animal  life, 
remarkable  not  only  for  the  technical  qualities 
of  the  photographs,  but  also  for  their  novelty 
and  artistic  excellence.  One  in  especial,  repre- 
senting a  woodcock  seated  upon  its  nest  sur- 
rounded by  shrubbery,  bears  witness  not  only 
to  Mr.  Kibbe's  good  taste  in  selection,  but  also 
testifies  to  the  marvels  which  modern  dry  plates 
can  achieve.  We  have  also  received  from  Mr. 
A.  E.  Rinehart,  of  Denver,  Col.,  a  series  of 
artistic  portraits,  including  many  choice  render- 
ings of  child-life  subjects.  Mr.  Rinehart  has 
caught  the  peculiar  individuality  of  his  sitters, 
making  his  portraiture  especially  valuable  to 
the  artist.  In  technical  quality  they  stand  very 
high,  being  pervaded  with  a  breadth  of  rich 
modulation  of  tone,  and  a  harmonious  blending 


THE  PHILADELPHIA  PHOTOGKAPHEH. 


223 


of  lights  and  shades  which  make  it  a  pleasure 
to  look  upon  them. 


We  have  received  from  Mr,  H.  A.  Hyatt,  St. 
Louis,  Mo.,  a  circular  announcing  that  arrange- 
ments have  been  made  with  the  Bee  Line 
Route  for  transportation  of  photographers  to 
the  Buffalo  Convention  at  the  low  rate  of  $18.25. 
Tickets  good  on  any  train  from  July  12th  to 
14th  inclusive,  and  return  till  July  31st.  Should 
the  number  going  at  any  one  time  be  sufficient 
an  elegant  palace  sleeping  car  will  be  at  their 
disposal;  tickets  $4.00  extra.  Any  further  in- 
formation desired  will  be  furnished  by  the  com- 
mittee. Mrs.  T.  H.  Fitzgibbon, 
G.  Cramer, 

R.  Benecke, 

Committee. 


We  are  in  receipt  of  the  Constitution  and 
By-Laws  of  the  Sixth  Annual  Convention  of 
the  Photographers'  Association  of  America,  to 
be  held  at  State  Arsenal,  Buffalo,  N.  Y.,  July 
14th  to  18th,  inclusive. 


Brother  Photographer  : 

In  order  that  the  Sixth  Annual  Convention 
at  Buffalo,  14th  to  18th  of  the  coming  July, 
may  be  the  grandest  ever  held  under  the  au- 
spices of  the  P.  A.  of  A.  it  will  be  necessary  to 
spend  quite  a  sum  of  money  in  fitting  the  splen- 
did hall  (State  Arsenal)  to  render  it  complete 
for  our  purpose. 

It  is  therefore  desirable  that  members  remit 
their  annual  dues  that  the  officers  may  be  kept 
in  funds  to  meet  current  expenses  as  they  arise. 
Those  who  remit  their  dues  will,  by  presenting 
their  receipt  at  the  office  of  the  Treasurer,  im- 
mediately receive  their  badge,  whereas  if  you 
wait  until  you  arrive  at  Buffalo  your  account 
must  be  looked  up,  your  money  entered  to  your 
credit,  and  a  receipt  written  while  you  and 
hundreds  of  others  are  waiting,  which  consumes 
much  valuable  time,  therefore  remit  at  once 
and  benefit  yourself  and  oblige 

Yours  truly,  G.  M.  Carlisle, 

Treasurer. 
Providence,  R.  I.,  April  10,  1885. 


Books  Received. — From  Scovill  Manufact- 
uring Co.,  Series  No.  18,  entitled  The  Studio 
and  How  to  Use  It,  by  Mr.  H.  P.  Robinson,  of  Tun- 
bridge  Wells,  England.  The  name  of  Robinson 
is  sufficent  endorsement  for  any  book  on  photo- 
graphic literature,  and  we  are  not  surprised  in 
finding  the  contents  such  as  are  of  great  prac- 
tical value  to  the  profession.  The  long  and 
varied  experience  of  the  author  in  studio  work 
and  the  construction  of  studios,  is   given  with 


his  characteristic  freedom,  and  in  his  peculiar 
pleasant  and  concise  style.  The  chapters  on- 
posing  and  management  of  the  sitter  are  full  of 
new  ideas,  and  contain  many  valuable  hints  for 
securing  artistic  effects.  What  we  especially 
like  in  Mr.  Robinson's  methods  is  the  great 
amount  of  freedom  and  unassumed  grace  which 
he  secures  in  his  arrangements  of  individuals 
and  groups.  They  do  not  seem  to  follow  any 
special  or  preconcerted  plan,  notwithstanding 
he  gives  explicit  directions  for  posing  and 
arranging.  Coming  from  a  practical  man  who 
also  possesses  a  high  degree  of  artistic  feeling 
in  all  that  he  portrays,  there  are  no  abstruse 
theoretical  principles,  no  doctrines  of  the  "  subtle 
luminosity  of  backgrounds"  or  of  the  objectivity 
and  subjectivity  of  photography,  about  which 
photographers  care  nothing.  We  cheerfully 
recommend  this  little  book  to  everyone  desirous 
of  gaining  a  practical  method  for  securing  the 
best  results  in  posing  and  lighting  the  subject. 
From  Prof.  Charles  F.  Himes,  of  Dickinson 
College,  Carlisle,  Pa.,  a  pamphlet  containing  his 
lecture  on  actinism,  delivered  before  the  Inter- 
national Electric  Exhibition,  held  in  this  city  in 
October  last.  Prof.  Himes,  in  his  usual  lucid 
style,  clearly  sets  forth  all  the  recent  investiga- 
tions in  this  important  branch  of  physics,  which 
have  such  a  practical  bearing  upon  photography. 


We  recently  had  the  pleasure  of  seeing  a  num- 
ber of  beautiful  portraits  painted  upon  porce- 
lain in  oil  colors,  the  work  of  Mr.  D.  Scannel, 
of  this  city.  They  are  remarkable  for  the  soft- 
ness of  finish  and  the  artistic  manner  with 
which  the  lights  and  shades  are  blended.  The 
colors  are  also  harmoniously  chosen,  and  alto- 
gether the  effect  is  exceedingly  pleasing,  and 
they  present  all  the  appearance  of  a  finely 
executed  porcelain,  which  has  been  rendered 
permanent  by  firing,  and  we  are  assured  they 
are  as  durable.  We  are  informed  that  Mr. 
Scannel  has  secured  space  at  the  Buffalo  Exhi- 
bition, where  photographers  may  have  an  oppor- 
tunity of  seeing  an  excellent  display  of  his  work- 


We  hail  with  pleasure  the  advent  of  a  new 
photographic  society,  the  Pittsburg  Amateur 
Photographic  Club.  We  learn  that  appropriate 
rooms  for  practical  work  are  being  fitted  up  at 
59  Fourth  Av.     The  following  are  the  officers : 

President — Mr.  A.  S.  Murray. 

Vice-President. — Mr.  J.  A.  Brashea. 

Secretary. — Mr.  N.  S.  Bill. 

Treasurer. — Mr.  W.  E.  Von  Bonnherst. 

The  value  of  photographic  societies  in  the 
advancement  of  the  science  cannot  be  too  highly 
appreciated.     The   freedom  in  the   interchange 


224 


THE    PHILADELPHIA    PHOTOGEAPHEK. 


of  ideas,  and  the  stimulus  given  by  the  com- 
parison of  individual  work,  have  a  very  benefi- 
cial effect.  The  publicity  which  is  given  to  the 
thoughts  and  discussions  tends  to  increase  the 
knowledge  and  widen  the  interest  of  the  whole 
fraternity,  both  amateur  and  professional.  We 
extend  a  hearty  welcome  to  this  new  limb  of 
the  great  body  photographic.  The  Secretary's 
address  is  Mr.  W.  S.  Bell,  66  Fifth  Avenue, 
Pittsburg,  Pa. 


American  Photographers. — -Among  the  vari- 
ous conventions  which  are  slated  for  Buffalo 
during  the  present  year,  none  is  of  more  im- 
portance or  greater  general  interest  than  the 
sixth  annual  meeting  of  the  Photographers' 
Association  of  America,  which  will  be  held  here 
from  the  14th  to  the  ISth  of  July  inclusive,  and 
it  is  confidently  expected  to  be  one  of  the  most 
successful  in  the  history  of  the  organization. 

In  conversation  with  a  reporter  of  The  Courier 
last  evening,  the  President,  Mr.  J.  Landy,  of 
Cincinnati,  said  that  "these  meetings  serve  to 
demonstrate  to  the  public  the  importance  of 
photography,  the  progress  that  is  being  made 
in  improvements  connected  with  the  business, 
and  the  really  artistic  effects  that  are  obtained." 
Interesting  papers  of  practical  value  will  be 
read  by  eminent  members  of  the  profession,  in- 
cluding prominent  English  photographers,  and 
a  very  novel  feature  will  be  a  lecture  on  light- 
ing and  posing,  by  Mr.  Lafayette  W.  Seavey, 
of  New  York,  who  will  use  a  model  in  demon- 
strating the  truth  of  his  argument.  Some  idea 
may  be  gained  of  the  number  who  will  probably 
be  present  from  the  fact  that  thirteen  hundred 
delegates  attended  the  convention  held  at  Cin- 
cinnati a  year  ago.  It  is  not  unlikely,  Mr. 
Landy  says,  that  many  more  will  come  to 
Buffalo,  because  this  city,  he  thinks,  is  one  of 
the  most  delightlul  and  conveniently  situated 
for  convention  purposes.  With  its  natural  at- 
tractions, cool  evenings,  splendid  park  and 
beautiful  drives,  and  Niagara  Falls  at  its  door, 
about  to  become  a  free  resort  for  the  world, 
there  is  every  inducement  for  public  bodies  to 
come  here  for  their  annual  deliberations.  More 
than  that,  the  hotel  men  are  liberal  in  special 
rates,  and  to  this  is  to  be  added  another  fact, 
Buffalo's  importance  as  a  railroad  centre,  it 
being  readily  accessible  to  people  from  all  parts 
of  the  country,  more  so  than  any  other  large 
city  that  Mr.  Landy  could  name.  The  photog- 
raphers will  have  an  extra  attraction  offered 
this  year,  and  that  was  the  demonstration  to 
take  place  at  Niagara  Falls  on  the  second 
day    of    their    convention.      On    that    day    no 


business  will  be  transacted,  and  the  Asso- 
ciation will  go  in  a  body  to  the  Falls.  A 
special  train  is  to  be  run  to  Buffalo  from 
Chicago  for  the  accommodation  of  the  western 
delegates. 

The  business  sessions  are  to  be  held  in  the 
drill-room  of  the  State  Arsenal  on  Broadway, 
while  the  new  drill  hall  will  be  utilized  for  the 
exhibition.  This  will  doubtless  rival  any  pre- 
vious display  ever  made,  and  the  interest  taken 
in  it  by  the  photographers,  manufacturers  of 
supplies  and  others,  is  shown  in  the  fact  that 
but  little  space  is  now  available  for  exhibits. 
A  wonderful  showing  of  fine  photographs  by 
leading  artists,  among  them  the  celebrated 
Sarony,  is  expected,  and  especially  interesting 
will  be  those  from  foreign  countries,  including 
Germany,  giving  the  public  an  opportunity  of 
seeing  what  kind  of  pictures  are  made  abroad. 
Then  there  will  be  elaborate  exhibits  of  chemicals, 
appliances,  apparatus,  papier-mache'  work,  etc. 

The  Recording  and  Local  Secretary  of  the  As- 
sociation is  Mr.  H.  McMichael,  of  this  city, 
upon  whom  has  devolved  the  labor  and  respon- 
sibility of  making  all  the  arrangements  for  the 
Convention.  The  able  and  satisfactory  manner 
in  which  he  has  discharged  his  duties  is  thus 
chronicled  by  the  Philadelphia  Photographer: 

"The  success  of  any  enterprise  is  almost  en- 
tirely dependent  upon  the  ability  with  which  it 
is  managed  by  those  who  have  it  in  control. 
Even  uncier  the  most  favorable  circumstances, 
lack  of  energy  or  skill  on  the  part  of  those  who 
are  appointed  to  conduct  the  scheme  may  turn 
every  well-meant  effort  into  a  stumbling-block_ 
But  when  a  man  of  energy  undertakes  to  guide 
the  affairs,  even  obstacles  are  made  the  stepping- 
stones  to  success.  We  rejoice  that  we  have  such 
a  man  for  our  coming  Convention  at  Buffalo,  as 
Local  Secretary,  Mr.  H.  McMichael. 

"We  are  confident  that  this  Convention  will 
be  the  pole-star  for  all  further  conventions.  In 
the  face  of  all  objections,  the  reproach  of  bad 
management  of  the  last  convention,  and  the 
dissatisfaction  of  the  whole  profession,  Mr. 
McMichael  inspired  his  hearers  with  confi- 
dence, and  won  their  promise  to  aid  in  the  good 
work.  But  not  this  alone.  After  all  the  details 
of  arrangement  had  been  completed,  and  the 
space  of  six  thousand  feet  laid  out,  the  place  in 
which  it  was  intended  to  hold  the  Convention 
(Music  Hall)  was  burned.  Nothing  daunted, 
Mr.  McMichael,  with  characteristic  energy,  re- 
ceived at  once  (within  forty-eight  hours)  per- 
mission from  the  State  authorities  to  occupy  the 
State  arsenal  for  the  purpose." — Buffalo  Courier, 
June  8,  1885. 


MAKE  OUT  YOUR  OWN  BILL,  and  remit  cash  with  your  advertisements,  or  they  will  not  he 
inserted. 

ADVERTISING  RATES  FOR  SPECIALTIES Six  lines,  one  insertion,  $2.00,  and  25  cents  for 

each  additional  line,  seven  words  to  a  line — in  advance.  Operators  desiring  situations,  no  charge.  Mattel 
must  be  received  by  the  23d  to  secure  insertion.  Advertisers  will  please  not  ask  us  for  recommendations. 
4®°"  We  cannot  undertake  to  mail  answers  to  parties  who  advertise.  Please  always  add  your  address  to  the 
advertisement.     Postage-stamps  taken. 


NTs 
until  July  or  August. 


Backgrounds,  Etc. 
Coming  out  weekly. 
New  designs  for  the 
Spring  and  Summer 
Season.  Replenish  your 
stock  now  ?  Do  not  wait 
From  our  six  hundred 
designs  all  climes  and  conditions  can  be 
suited. 

Twenty  Second-hand  Backgrounds,  some 
as  good  as  new,  at  half  price.  Trees,  Walls, 
Balustrades,  Garden-seats,  Gates,  etc.,  in 
stock  for  immediate  shipment.  Call  and 
inspect  our  show-room. 

Lafayette  W.  Seavey, 
Studio,  216  E.  Ninth  St.,  N.  Y. 


W.  F.  ASHE 

ARTISTIC   BACKGROUNDS 

AND 

ACCESSORIES, 

REMOVED  TO  68  WEST  FOURTH  ST., 
4  Blocks  West  of  Broadavay,  N.  Y. 

My  new  studio  is  fitted  up  with  all  the  mod- 
ern improvements,  and  the  most  refined  demands 
from  a  critical  public  can  be  satisfied.  A  visit 
to  my  establishment,  which  has  the  largest 
showroom,  containing  the  greatest  amount  of 
stock  of  any  place  in  toe  world,  will  be  grate- 
fully appreciated. 

I  have  again  added  numerous  new  designs  to 
my  great  variety  of  patterns  for  backgrounds 
and  accessories,  and  keep  also  in  stock  a  large 
quantity  of  goods  for  parties  to  select  from, 
saving  time  and  delay  on  orders. 


R0CKW00D  SOLAR  PRINTING  CO. 

17  Union  Square,  New  York. 

TIME. — It  is  our  intention  that  every  order 
received  in  the  morning's  mail  (when  not  to  be 
put  on  stretchers)  shall  leave  this  establishment 
the  same  day  or  the  following  morning.  If  too 
late  for  the  morning  work,  it  is  sent  on  the  sec- 
ond day.  Having  our  own  engine  and  electric 
light,  we  are  not  at  all  dependent  on  the  weather. 
GEOKGE  H.  ROCKWOOD, 

Business  Manager. 


VOGEL'S  PROGRESS  OF  PHOTOGRAPHY, 

LATEST— BEST— $3. 


Every  photographer  in  want  of  excellent 
lenses,  for  any  purpose,  will  best  serve  his  interest 
by  consulting  the  new  illustrated  price-list  of 
Messrs.  Benjamin  French  &  Co.  before  pur- 
chasing. 


Address  T.  W.  Power,  N.  Y.,  Secretary  of 
Association  of  Operative  Photographers  of  New 
York  City,  for  operators,  printers,  and  re- 
touchers, 392  Bowery,  or  487  Eighth  Avenue. 


Vogel's  Progress  of  Photography, 

LATEST— BEST—  $3. 


226 


THE    PHILADELPHIA    PHOTOGRAPH  ER. 


No.  18. 


No.  18. 


WAYMOUTH'S 

VIGNETTE 

PAPERS, 

The  old  form  of  No.  18,  Waymouth's  Vignette 
Papers,  oval,  has  been  discarded,  and  a  new 
pear-shaped  style  is  now  ready  in  its  place.  It 
is  a  beautiful  piece  of  gradation  and  prints 
perfectly.  Price  $1.25  per  dozen.  For  sale  by 
all  dealers.     See  advertisement  for  all  sizes. 


No.  18. 


NOW  READY. 


No.  18. 


PORTRAITS  IN  CRAYON. 
The  new   book    by   E.   Long,   on   the   art  of 
making   portraits  in   crayon   on   solar  enlarge- 
ments, covers  the  entire  ground,  and  is  sold  for 
the  low  price  of  fifty  cents.     For  sale  by 

Edward  L.  Wilson, 

Philadelphia. 


METAL  GUIDES 

FOR 

A.  M.  COLLINS,  SON  &  CO.'S 
No.  26  Gilt  Bevelled-edge  Cards. 
The  fancy-shaped  mounts  now  so  fashionable 
among  photographers,  require  metal  guides  with 
which  to  cut  the  photographs.  They  are  now 
kept  on  hand,  and  can  be  supplied  in  the  follow- 
ing shapes,  and  at  the  prices  mentioned  : 

Each. 

Cross $1  05 

Star 1   00 

Palette 90 

Leaf 90 

Bell  90 

Crescent 80 

Egg 50 

Triangle 5)0 

For  sale  by  Edward  L.  Wilson, 

1125  Chestnut  Street, 
Philadelphia,  Pa. 

For  Sale. — A  first-class  photograph  gallery 
in  a  growing  southern  city  of  12,000  inhabi- 
tants. Everything  first-class.  Good  reasons 
for  selling.  The  only  gallery  in  the  city.  Ad- 
dress A.  M.  I., 

care  Buchanan,  Saiedley  &  Bromley, 

25  N.  Seventh  Street,  jfhila. 

For  Sale. — Stuart's  studio,  186  Seneca  Street, 
Buffalo,  N.  Y.  Good  location;  good  business. 
Write  for  particulars.  Will  sell  half  interest  to 
right  party.  The  above-named  studio  is  doing 
a  good  paying  business,     Address 

David  Tucker  &  Co., 
Buffalo,  N.  Y. 


THE  LIGHT  RUNNING 


WR 


SEWING  MACHINE 


SIMPLE 


THE  ONLY  SEWING  MACHINE 

L  .  THAT  GIVES J 


PEBFECTSATISFIICTIM 


rHAS  NO  EQUAL^ 


SEWING  MACHINE  CO 


ORANGE  MASS. 

30  UNION  SQ.N.Y.   CHICAGO  ILL. 
ST.  LOUIS  MO.  ATLANTA  GA. 


M.  WEKNEE, 
PORTRAIT    ARTIST, 

No.  102  N.  Tenth  Street,  Philadelphia. 

Photographs  finished  in  crayon,  India  ink, 
water  colors,  and  pastel,  in  all  sizes,  in  the  very 
best  styles,  and  at  moderate  prices. 

Solar  Prints  and  Enlargements  Furnished, 


THE    PHILADELPHIA    PHOTOGRAPHER. 


227 


WILSON'S  PHOTOG-RAPHICS. 

All  about  emulsion  worlc  and  plate  mak- 
ing—a  whole  big  chapter.    See  index. 

$4.00  Buy  it.  $4.00 


For  Sale. — Only  Gallery  in  Gunnison,  Col. 
Good  rooms,  splendid  light,  fair  business,  good 
prices,  and  complete  household  furniture. 
Chance  for  a  family  man  in  the  healthiest 
climate  in  the  world.     Address 

Photographer, 

Gunnison,  Col. 


Wanted,  Operator. — First-class  man,  chiefly 
for  posing.  None  but  first-class  need  apply. 
Send  samples  and  state  salary  expected.  Ad- 
dress A.  Haushold, 

514  Market  Street, 

Pittsburg,  Pa. 


An  opportunity  to  purchase  the  finest  gal- 
lery in  western  New  York  is  open  for  some  one 
desiring  a  location  and  business.  The  gallery 
is  spacious,  well  furnished,  is  in  the  choicest 
spot  in  the  city  of  Buffalo,  and  has  a  long  lease. 
To  be  appreciated  it  must  be  seen  and  examined. 
Special  advantages  can  be  gained  in  the  way  of 
printing  and  finishing.  Price  $1000.  Messrs. 
Tucker  &,  Co.,  stockdealers,  have  kindly  allowed 
us  to  use  their  names  as  reference.  Address 
A.  E.  Dumble, 

Rochester,  N.  Y. 


To  Dry-plate  Makers. 
For  sale,  or  to  lease  to  responsible  parties,  on 
very  reasonable  terms,  the  entire  plant  of  a 
dry-plate  manufacturing  company.  Completely 
fitted  with  every  requisite  for  manufacturing 
dry  plates  on  a  large  scale.  Building  77  feet 
front  by  108  feet  deep.  Elevators,  chilling- 
rooms,  steam  baths,  etc.  For  particulars  ad- 
dress Providence  Warehouse  Co., 

P.  0.  Box  1114, 
Providence,  R.  I. 

SITUATIONS  WANTED. 

No  chargefor  advertisements  under  this  head;  limited 
to  four  lines.     Inserted  once  only,  unless  by  request. 

By  a  lady  to  retouch  and  attend  reception- 
room.    Address  Miss  Annie  King,  Bradford,  Pa. 

In  a  copying  house  by  an  experimental  photo- 
eolorist,  equal  to  all  demands  peculiar  to  trade 
work.  Rapid,  even  worker.  Correct  likenesses, 
fine  finish.  Can  furnish  air-brush  and  operate 
successfully  on  small  and  large  work.  Address 
J.  S.  Hunter,  Philadelphia,  Pa. 

By  a  young  lady,  to  retouch  and  do  crayon 
work.  Has  had  nine  year's  experience,  and 
can  come  well  recommended.  Address  H.  L., 
663  Superior  Street,  Cleveland,  Ohio. 

By  a  first  class  printer  and  toner:  active,  tem- 
perate, and  capable.  Best  recommendations. 
Address  Charles  E.  Pearsall,  184  Washington 
Street,  Brooklyn,  N.  Y. 

As  operator,  by  a  competent  young  man,  who 
can  also  print,  tone,  and  retouch.  Eastern  or 
Southern  States  preferred.  Address  William  S. 
Nelson,  care  C.  T.  Pomeroy,  30  Bast  Main  Street, 
Rochester,  New  York. 

As  operator,  by  young  man  well  up  in  dry- 
plate  work,  either  indoor  or  out.  First-class 
certificate  from  Gresham  College  of  Photogra- 
phy, London.  Address  H.  Paterson,  care  Mr. 
R.  Souter,  54  Twelfth  Street,  Norwich,  Conn. 

By  an  experienced  operator,  whose  experience 
has  been  in  leading  establishments.  Proofs 
offered  and  correspondence  invited.  Address 
William  Hamilton,  Hyde  Park,  Mass. 

As  operator,  by  a  practical  photographer  of 
twenty  years'  experience,  most  of  which  was  in 
business  for  himself.  First-class  in  portraits  or 
views,  the  latter  preferred  for  the  summer.  Can 
furnish  8  x  10  and  11  x  14  outfits.  Address 
Practical  Photographer,  1120  Sixth  Street, 
N.  W.,  Washington,  D.  C. 


228 


THE   PHILADELPHIA   PHOTOGKAPHEB. 


By  a  gentleman. 
New  York. 


Address  C.  C.  Clark,  Nile 


In  a  good  gallery,  by  August  1st,  as  printer, 
retoucher,  and  general  assistant,  by  a  young 
man  of  steady  habits.  Address  W.  B.  Todd, 
Box  249,  Salamanca,  New  York. 

With  a  travelling  photographer,  by  an  experi- 
enced printer,  who  can  assist  in  retouching  and 
printing.  Address  Photographer,  654  West 
Baltimore  Street,  Baltimore,  Md. 


By  a  young  lady  as  retoucher  and  printer. 
Best  of  reference.  Address  Box  169,  Ashtabula, 
Ohio. 

By  a  fair  workman,  as  retoucher.  Wages  $10 
per  week.  Address  W.  H.  Holmes,  145  North 
Broadway,  Akron,  Ohio. 

By  a  good  negative  retoucher,  who  can  assist 
in  operating  and  printing.  Can  also  handle 
wet  and  dry  plates.  Address  Joseph  Darella, 
Farmer,  Ky. 


THE3    &TA.FL   ID 


LATES. 


2%  x  4]^  size,  per  dozen, 

4x5 
4#  x  5% 

i,yi  x.ey2 
5x7 

5x8 

6y2xsy2 

8  x  10 


10  x  12  size,  per  dozen, 

11  x  14  »  » 
14  x  17  »  » 
16  x  20    »  » 

17x20     11  11 

l8  X  22       11  11 


$3  35 
4  5o 
6  75 
10  75 
12  00 
14  00 
18  00 


BUCHANAN,  SMEDLEY  &  BROMLEY,  Sole  Philadelphia  Agents, 


No.  25  North  Seventh  Street. 


THE  PIjATINOTYPE,  Patented.     Send  ten  cents  for  instructions  and  sample,  portrait  or  landscape. 

WILLIS  &  CLEMENTS,  No.  25  North  Seventh  Street,  Philadelphia,  Pa. 

BUCHANAN,  SMEDLEY  &  BROMLEY, 
GENERAL   AGENTS    FOE,    THE    SALE    OE    MATERIALS. 


ARTISTIC  PHOTOGRAPHY, 

AND  HOW  TO  ATTAIN  IT. 

By   LYMAN    G.    BIGELOW. 


Owing  to  the  ready  sale  of  the  first  edition,  we  are  enabled  to  produce  the  new  one  at  less 
cost,  and  now  at  a  REDUCED  PRICE,  $4.00,  we  are  enabled  to  place  it  within  the 
reach  of  everybody. 

EXAMINE  THE  CONTENTS. 


BEADING  MATTEE. 

I.  Introductory. 
II.  Artistic  Light. 

III.  Balance  of  Lines. 

IV.  Chiaro-oscuro. 
V.   Backgrounds  and  Accessories. 

VI.    Composition,  Rules,  and  Maxims. 
VII.    The  Studio. 

VIII.  Formula  well  proved  and  used  by  the 
author  in  producing  the   work   em- 
ployed to  illustrate  his  book. 
IX.   Printing  and  toning  formula. 

Together  with  a  plan  of  Mr.  Bigelow's  skylight. 
jjj§g°  A  fine  lot  of  studies  and  capital  instructions  for  producing  them. 

EDWARD  L.  WILSON,  Photo.  Publisher,  1125  Chestnut  St.,  Phila. 


PHOTO.  ILLUSTEATTONS. 

1 .  Cloud  Portrait. 

2.  Cabinet  Medallion  of  a  lady. 

3.  Cabinet,  plain — boy  on  a  velocipede 

4.  Promenade,  lady  {interior). 

5.  Promenade,  lady  [moonlight). 

6.  Cabinet,  gentleman  [bust). 

7.  Cabinet,  lady  (f  length). 

8.  Cabinet,  lady  [bust). 

9.  Cabinet,  lady  (|  length). 

10.  Protnenade,  group. 

1 1 .  Protnenade,  group. 

12.  Promenade,  seaside. 


THE    PHILADELPHIA    PHOTOG  RAPHEP.  229 

TO  GET  A  PICTURE  EVERY  TIME,  USE 

THE  MAWDSLEY-DUM9NT  DRY  PLATE. 

Made  by  the  Oldest  Dry-Plate  Maker  in  the  United  States. 

Rapid,  Brilliant,  Clean,  Uniform,  and  of  the  Finest  Printing  Quality. 
No  Danger  of  Fog  from  JMEat. 

RED  LABEL  SHOWS  TWENTY-FIVE  WARNECKE. 

WHITE  LABEL  SHOWS  TWENTY  WARNECKE. 

BLUE    LABEL    GELATINO-ALBUMEN    TRANSPARENCY    PLATE. 

EVERY  EMULSION  GUARANTEED.  COATED  ON  BEST  ENGLISH  GLASS. 


LOOK  AT  OUR  PRICES 


Red  or  Blue  White 

Label.  Label. 

3#  X  4i/, $0  45  $0  45 

4x5, 65  60 

4%x5^, 75  70 

4^x6^ 90  85 

5x7 1  10  1  00 

5x8, 1  25  1  15 

6^x8^, 1  65  1  60 


Red  or  Blue  White 

Label.  Label. 

8  x  10, 2  40  2  30 

10  x  12, 3  80  3  65 

11  x  14, 5  00  4  75 

14  x  17, 9  00  8  75 

16x20, 12  50  12  00 

17  x  20, 13  50  13  00 

18  x  22 15  50  15  00 


FOR     SALE     BY     ALL     DEALERS. 

Buchanan,  Smedley  &  Bromley,  sole  Agents  tor  Phiiada. 

MANUFACTURED  BY 

THE  MAWDSLEY-DUMONT  DRY  PLATE  CO.,  ROCHESTER,  N.  Y. 


The  PHOTOGRAPHIC  COLORISTS'  80IDE 

By  the  late  JOHN  L.  GIHON. 

PHOTOGRAPHIC  COLORING— The  growing  demand  for  a  fresh  work  on 
Photographic  Coloring,  one  that  contains  full  instructions  on  all  the  new  and  improved 
methods — for,  like  Photography  itself,  Photo.  Coloring  has  improved  and  progressed — has 
led  to  the  publication  of  the  same. 

A  Tremendous  Demand  for  the  Book  continues.    Read  what  it  contains. 


Preface. 

Chap.  I.  On  India-ink  "Work. 

II.  The  Principles  to  be  Considered 
in  the  Application  of  Colors. 

III.  The  Materials  used  in  Finishing 

Photographs  with  "Water  Colors. 

IV.  Water-color  Painting  as  Applied 

to  Photographs. 


Chap.  V.  Relative  to  the  Use  of  Paints  that 
are  Mixed  with  Oil. 
VI.  Coloring  with  Pastels. 
VII.  The  Production  of  Ivorytypes. 
VIII.  The  Crystal  Ivorytype. 
IX.  Crayon  "Work. 

X.  Negative  Retouching. 
XI.  About  Matters  so  far  Forgotten. 
XII.  Rudimentary  Perspective. 


e  last  chapter  is  on  a  subject  entirely  new  and  fresh,  and  is  finely  illustrated. 


Mailed  on  receipt  of  price,  $1.50  per  copy. 
EDWARD  L.  WILSON,  Photo.  Publisher,  1125  Chestnut  Street,  Philada. 


230 


THE    PHILADELPHIA    PHOTOGRAPHER. 


1885.—"  NOVELTIES  "  EXHIBITION— 1885. 

OF   THE 

FRANKLIN   INSTITUTE, 

PHILADELPHIA,  U.  S.  A. 
MANUFACTURERS  AND  INVENTORS 

OF 

PHOTOGRAPHIC    NOVELTIES 

WILL  FIND 


THIS  BXHIBITIOKT 

AN  EXCEPTIONALLY  GOOD  OPPORTUNITY 

TO   BRING 

THEIR  LATEST  and  BEST  PRODUCTIONS  to  PUBLIC  NOTICE. 


For  Information,  address 

The  COMMITTEE  ON  EXHIBITION,  Franklin  Institute,  Philadelphia. 


OPENS  SEPTEMBER  15. 


CLOSES  OCTOBER  31. 


THE  PHILADELPHIA  PHOTOGEAPHER. 


231 


GAYTON  A.  DOUGLASS. 


HENRY  G.  THOMPSON". 


Douglass,  Thompson  &  Co. 

229  &  231  State  St,  Chicago,  111. 

MERCHANTS  IN  SUPPLIES  FOE  THE 

Art-Science  of  Pnotograpny 

Photographers'  Booksellers,  Stationers,  and  Newsdealers. 


CARBUTT'S 

Keystone  Dry  Plates 

AND  PHOTOGRAPHIC  SPECIALTIES. 

Specials  for  Portraiture. 

A.  for  Transparencies. 

B.  for  Landscapes  and  General  Pho- 
tography. 


OPAL    PLATES,  Gelatino-Albumen  or  Gelatino- 
Chlorides,  for  Positives  and  Transparencies. 


.Mmmms 


Multum  in  Parvo  Dry-Plate  Lantern. 

Carbutt's  Pyro.  and  Potash  Developer,  Concentrated, 
Two  8oz.  bottles  75  cents. 

Kuby  Paper  and  Negative  Varnish. 


FOE  SALB  BY  ALL  DEALERS. 


JOHN  CARBUTT,  Keystone  Dry-Plate  Works, 

Wayne  Junction,  Philadelphia,  Pa. 

HODGE   &  HUSTON, 

THE   SOLAR   PRINTERS, 

622  Arch  Street,  Philadelphia. 

PERMANENT  PRINTS  BY  THE  PLATINUM  PROCESS. 
——ELECTRIC  LIGHT.- 


232  THE    PHILADELPHIA    PHOTOGRAPHER. 

PASSAVANT'S  BRYPLATES 

ARE  CONCEDED  BY  THE  LEADING  PHOTOGRAPHERS 
OF  THE  PACIFIC  COAST  TO  BE 

THE  BEST  AND  MOST  RELIABLE  IN  THE  MARKET. 


CIP. 
HL. 


Specially  for  Portraiture  and  Instantaneous  Views, 
requiring  one-half  the  time  of  other  Dry  Plates, 
working  with  great  softness  and  delicacy. 

For  ordinary  Studio  Work  and  Landscape. 


^ PRICE 

LIST. ^ 

Per  Doz. 

Per  Doz. 

Per  Doz. 

3Xx4X,      • 

.     .  $0  60 

5x8,. 

.       .    $1    75 

11x14,      . 

.     .     $6  50 

4x5,. 

.     .          90 

6^x8^,      . 

.     .     2  30 

14x17,      . 

.     .     12  00 

4^x6^,      • 

.     .      1   20 

8      x  10,       . 

.     .     3  40 

17x20, 

.     .     20  00 

5x7, 

.     .     1   75 

10  x  12, 

.     .     5  00 

18  x  22,      . 

.     .     24  00 

Numerous  testimonials  from  all  parts  of  the  States  at  hand.     Try  them. 

Passavant's  Photographic  Dry  Plate  Factory, 

306  GUERRERO  STREET,  SAN  FRANCISCO,  CAL  . 

OS'AR    FOSS,    SOLE    AGENT    FOR    THE    PACIFIC    COAST. 

OUR  SPECIALTIES. 


BROMIDE  AMMONIUM,  Chem.  Pure. 

BROMIDE  POTASS.,  Chem.  Pure. 

NITRATE  SILVER,  Chem.  Pure. 

FOR  DRY  PLATES. 

CROSS-SWORD    DRESDEN    ALBUMEN    PAPER, 
Single  and  Extra  Brilliant.    The  Best  in  the  Market. 

ALSO  A  GENERAL  LINE  OF 

PHOTOGRAPHIC    CHEMICALS. 

A  circular,  "How  to  Save  Waste,"  sent  on  application. 

OHAS.  COOPER  &  CO. 

194  Worth  St.,  New  York 


THE    PHILADELPHIA    PHOTOGEAPHE  R. 


233 


720  {5  gross)  of  these  trimmers  were  sold  to  one  party  in  July. 


ROBINSON'S 
NEW  MODEL 


PHOTOGRAPH  TRIMMERS ! 


These  invaluable  instruments  are  already  used  all  over  the  country,  and 
now,  a  change  of  form  having  permitted  an  immense  reduction  in  price, 
they  must  soon  be  UNIVERSALLY  USED  as  they  afford  a  quicker, 
better,  and  less  expensive  means  of  trimming  photographs  than  any  other. 
The  inventor  assm-es  photographers  that  his  trimmers  can  be  used  with 
greater  ease  when  held  as  indicated  in  the  drawings  below.  These  trim- 
mers are  now  made  entirely  of  metal,  and  in  quality  are  fully  equal  to  those 
of  the  old  model.  They  answer  for  oval,  round,  arch  top,  and  square 
work. 


Plan  of  holding   the  Straight    Cut  Trimmer 
when  in  use.     PRICE,  50    CENTS. 


Plan  of  holding  the  Revolving  Trimmer  when  in 
use.     PRICE  (with  one  card  guide)  $1.00. 


OVALS. 

'2x2$ 

3|x4f 

5x7 

6ix8i- 

2^x3£ 

^3|x4f 

5£x7|r 

6£x8J 

2ix3i 

3Jx4| 

5£x7£ 

7x9 

2|x3f 

u3|x5£ 

5|x7| 

71x91- 

2fx3f 

,::3  '  4x5f 

5|x7f 

7£x9J 

2*x4J 

L4fx6f 

6x8 

7fx9f 

ROBINSON'S     GUIDES. 

MADE   OF   SHEET-IRON. 
We  have  the  following  Regular  Sizes  always  on  hand  at  io  cents  per  inch  the  longest  way  of 
the  aperture. 

SQUARE  OR  ROUND  CORNERED. 

2TVx3|  2^x3!  2|x4J  4x5| 

2Jx8f  2ft  x  8$  2Jx4|        4£x5£ 

2£x3^  2fx4i  31x51         3|x6 

2ftx3if  4x6£ 

FOR  STEREOGRAPHS. 

Arch  Tops.  Round  Cornered.  Round. 

3TVx3|,  3x3         3T\x3|,  3x3  3x3 

The  above  sizes  suit  the  Collins  Card  Mounts,  and  photographers  knowing  that  they  can  be 
always  had  at  the  low  price  of  ten  cents  per  inch,  would  do  well  to  make  their  sizes  accord,  as 
orders  can  also  be  filled  more  quickly.     Ten  days  are  required  to  make  special  sizes. 

Special  Sizes  made  to  order,  at  15  cents  per  inch,  the  longest  way  of  the  aperture. 

ROBINSON'S  PHOTOGRAPH  TRIMMERS  are  substitutes  for the  Knife  for  Trimming 

Photographs,  and  do  the  work  much  more  expeditiously  and  elegantly. 

They  Save  Time,  Save  Prints,  and  Save  Money. 

They  do  not  cut,  but  pinch  off  the  waste  paper,  and  leave  the  print  with  a  neatly  beveled  edge 
which  facilitates  adherence  to  the  mount.  Try  one,  and  you  will  discard  the  knife  and  punch  at 
once.     For  ovals  and  rounded  corners  they  are  worth  their  weight  in  gold. 

S  DelieJl  EDWARD  L.  WILSON,  Manufacturer's  Agent,  1125  Chestnut  St.,  Philada. 


234 


THE    PHILADELPHIA    PHOTOGEAPHEK 


a 


THE  nvtoxjiNri>   OITY 


?? 


Photographic  Stock  House 


Offers  the  Most  Complete  line  of 

Photographic    Apparatus,    Chemicals, 

Picture  Frames.  Mouldings,  Mats, 

Albums,   Etc.,   in   the    market, 

at  bottom  prices. 

Professional  and  Ainatenr  Outfits  a  Specialty. 

AGENT  FOR 

KUHN'S  LIGHTNING  DRY-PLATE  INTENSIFIED 

AND 

KUHN'S  SENSITIZED  PAPER  STRETCHER  AND  DRYER. 

Address 

H.  A.  HYATT, 

8th  &  Locust  Sts., 

ST.  LOUIS,  MO. 


Send  for  Illustrated  Catalogues  of  Photographic  Goods  and  Picture  Frames. 

ALBERT  MOORS  »  SOLAR  ENLARGER, 

THE  LONGEST,  LARGEST,  AND  BEST. 

828  Wood  Street,  Philadelphia. 

PHOTOGRAPHIST  MITTHEILUN6EN. 


We  are  now  prepared  to  receive  subscriptions  for  Dr.  Hermann  W.  VogePs  magazine  bearing 
the  above  title. 

The  MITTHEILUNGEN  is  published  in  German  and  is  issued  semi-monthly  at  $3.00  per  year, 
postage  paid.  To  all  of  our  German  photographers  and  many  others  this  will  be  considered  a 
desirable  opportunity. 

The  Magazine  is  published  at  Berlin.     Subscriptions  received  by 

EDWARD    L.  WILSON, 

1125  Chestnut  Street,  Philadelphia,  Pa. 


THE    PHILADELPHIA    PHOTOGRAPHER. 


235 


WILSON'S  PHOTOGRAPHIC 


^ 


-*#?!  JF^TIgE  0]5  EYE^Y  B^^CP  0E  PflOTeeWFY.** 


THE  PHILADELPHIA  PHOTOGRAPHER. 

A  monthly  Magazine,  illustrated  by  pho- 
tographs of  superior  merit.  $5.00  a  year ; 
$2.50  for  six  months. 

Stands  ahead  of  all  its  kindred.  Eighteen  years  of 
success  is  a  sufficient  guarantee  of  its  value  and  use  to 
the  practical,  working,  growing  photographer.  Do  not 
go  without  its  valuable  help. 


WILSON'S  PHOTOGRAPHICS 

THE   NEWEST  AND    MOST   COMPLETE 

PH0T0GKAPHIC   LESSON-BOOK. 

Covers  Every  Department. 

352  Pages.    Finely  Illustrated.    Only  $4.00. 

By  Edward  L.  Wilson. 


WILSON'S  LANTERN  JOURNEYS. 

By  Edward  L.  Wilson.     In  Three  Vols. 
Price,  $2.00  per  vol. 

For  the  lantern  exhibitor.  Gives  incidents  and  facts 
in  entertaining  style  of  about  2000  places  and  things, 
including  200  of  the  Centennial  Exhibition. 


THE  PROGRESS  OF  PHOTOGRAPHY 

SINCB   1879. 

By  Dr.  H.  Vogel.     Price,  $3.00. 

Issued  July  loth,  1883.     A  splendid  work. 


BIGELOW'S  ARTISTIC  PHOTOGRAPHY. 

Price  reduced  to  $4.00. 

For  the  lover  of  art.  Beats  his  "  Album  of  Lighting 
and  posing."  Superb!  With  twelve  photographs  and 
instructions. 


THE  FERROTYPER'S  GUIDE. 

Price,  75  cent<=. 

Cheap  and  complete.     For  the  Ferrotyper,  this  is  the 
only  standard  work.     Seventh  thousand. 


STUDIES  IN  ARTISTIC  PRINTING. 

By  O.  W.  Hearn.     Price,  $3.50. 

Embellished  wiin   six   fine  cabinet  and  promenade 
portrait  studies. 


PICTORIAL  EFFECT  IN  PHOTOGRAPHY. 

By  H.  P.  PiOBiNSON.     For  the  Art  Photog- 
rapher.   Cloth,  $1.50.    Paper  cover,  $1.00. 


THE 
PHOTOGRAPHIC  C0L0RISTS'  GUIDE. 

By  John  L.  Gihon.     Cloth  hound,  $1.50. 

The  newest  and  best  work  on  painting  photographs. 


PHOTOGRAPHIC  MOSAICS,  1885. 

Cloth  bound,  $1.00;  paper  cover,  50  cents. 
Back  volumess.  same  price. 

Better  than  any  of  its  predecessors. 


COPIES  MAILED  POST-PAID  ON  RECEIPT  OF  PRICE. 


EDWARD  L.  WILSON, 

Photo.  Publisher.  1125  Chestnut  St.,  Phila. 


236  THE    PHILADELPHIA    PHOTOGRAPHER. 


THIS  FAVORITE  ANNUAL  NOW  READY, 

144  PAGES— 50  CENTS;   CLOTH  COVER,  $1.00—144  PAGES. 

CONTENTS. 


A  Pot  Pouri  of  the  Past. 

Bits  of  Experience.     Geo.  H.  Croughton,  Phila. 

How  Rapid  are   Dry  Plates?      H.   D.   Garrison, 

Chicago. 
The   Photographic   Dude.      J.    Pitcher    Spooner, 

Stockton,  Cal. 
My  Developer.     Wm.  McComb,  Muskegon,  Mich. 
A  Hint  for  the  New  Year.     Marcus   H     Rogers, 

N.  Brimfield,  Mass. 
Energy.     R.  E.  Wood,  St.  Helena,  Cal. 
A  Rapid  Emulsion.     Geo.  Sperry,  Evansville,  Ind. 
Amateur  Photography  a  Teacher.     A.  Bogardus, 

New  York. 
A  Few  Photographic  Hints.     H    K.  Seybold. 
Photographic  Experiences.     Dr.  G.  F.  H  Bartlett, 

Buffalo,  N.  Y. 
Something  Not  Necessarily  Dry.    Chas   E.Emery, 

Silver  Cliff,  Col. 
Elevate  Ourselves   First       J.  C.  Moulton,  Fitch- 
burg,  Mass. 
Photo  -Hash      J.  A.  Sheriff,  San  Diego,  Cal. 
Weak  or  Strong  Development.    Dr.  H.  Sturenberg. 
How  to  Develop  Landscapes  upon  Dry  Plates,  or 

a   Method  of  Testing   Plates   whose   Time   of 

Exposure  is  Unknown.     Dr   H    W.  Vogel 
How   to    Make    Home-made    Retouching    Lead. 

Chas.  Latham,  Bradford,  Pa. 
Something  About  Blisters.     B.  T.  Rice,  Frankfort, 

Kansas. 
How    to    Number    Negatives.       H.    S.    Stevens, 

Keene,  N.  H. 
A  Few   Things  to   Save   Money.     H.  G.  Parcell, 

Kingsville,  Mo 
An  Amateur's   Views  on  Prices.     W.  R.  Trippe, 

Goshen,  N.  Y. 
How  I   Got   White   Streaks   on   my   Stereoscopic 

Negatives.     J.  J    Eskill,  Florence,  Wis. 
Practical      E.  E.  Van  Epps,  Hanover,  Kansas 
How  I  Clean  Varnished  Films  from  Old  Negatives. 

E.  D.  Ritton,  Danbury,  Conn. 
A  Good  Copying  Paper.     Dr.  Stevenberg. 
A    Few    Notes    for    Mosaics.     Will   A.    Triplett, 

Bluffton,  O. 


27.  The  Lesson  to  Learn.      M.  H.  Albee,  Marlboro, 

Mass 

28.  To    Know    How.      S.    P.  Tressler,    Fort    Scott, 

Kansas. 

29.  Whither  are  we  Drifting?     H.  B.  Hillyer,  Austin, 

Texas. 

30.  The  Best  Dry  Plate  Developer.   Dry  Plate  Maker. 
31     The    Cincinnati    Convention.     Chas.    T.     Stuart, 

Hartford,  Conn 

32.  Home-made   Dry   Plates.     Jay  Densmore,  Niles, 

Mich. 

33.  Practical,    Pointed,   and    Clear.     John  D.  Miller, 

Elizabethtown,  Pa. 

34.  A   Very   Convenient   Washing   Box      Mrs.  E.  N. 

Lockwood,  Ripon,  Wis 

35.  On  the  Reduction  of  Negatives.     H.  K   Seybold. 

36.  A  Warning.     Henry  Piatt,  Nantucket,  Mass 

37  Slow  Development — a  Word  to  Beginners.  Alfred 
Ganze 

38.  Home-made  Plates  Ranald  Douglass,  E.  Gardi- 
ner, Mass 

39  A  Cleaning  Solution  for  Gelatine  Negatives  and 
Positives.     R   G   Weiss 

40.  Gleanings  From  my    Last  Year's   Reading.     Old 

Gray -beard. 

41.  An   Automatic  Washing   Tank.     Geo     W.  Leas, 

Peru,  Ind. 

42.  Smoked  Negatives.    W.-H.  Sherman,  Milwaukee, 

Wis 

43.  Hints  to  Amateurs.  Xanthus  Smith,  Philada.,  Pa. 

44.  A  Workman's  Idea.     H.  S    Keller,  Utica,  N   Y. 

45.  About  Prices.     John  C    Patrick,  Batavia,  N.  Y. 

46.  Exposure      Ellerslie  Wallace,  M  D.,  Philada. 

47.  On  the  Delectable  Dry.     Wm.  H.  Rau,  Philada. 

48.  Photography  in  its  Relation  to  Art.  John  Bartlett, 

Philada. 

49.  The  Attractive  Properties  of  a  Photograph      CM. 

French,  Garrettsville,  O 

50.  A  New   Method   of  Developing   Dry  Plates.     D. 

Bachrach,  Jr.,  Balto   Md 

51.  Our  Way   is   our   Hobby.     Miss  H.  H.  Flanagin, 

Woodstown,  N.  J. 

52.  "Nothing  to  Say."     J.  H.  Hallenbeck,  N.  Y. 


EDWARD  L.  WILSON,  Photo.  Publisher,  No.  1125  Chestnut  Street,  Philada. 

FOB  SALE  BY  ALL  DEALEBS. 


THE  PHILADELPHIA  PHOTOGEAPHEE. 


237 


SOOVILL'S 

NEGATIVE  WASHING  BOXES. 


GUARANTEED  NOT  TO  RUST. 

It  is  necessary  at  a  certain  stage  of  development  to  remove  from  photographic  nega- 
tives all  traces  of  Hyposulphite  of  Soda,  and  it  is  not  generally  convenient  to  place  them 
where  water  will  flow  over  their  surface  a  sufficient  length  of  time  to  accomplish  this  effec- 
tually, without  injury  to  the  sensitive  film.  To  watch  the  plate  is  to  waste  time.  The 
flow  over  it  should  be  with  gentle  force.  This  can  best  be  regulated,  and  a  thorough 
cleansing  from  Hyposulphite  of  Soda  of  every  portion  of  the  negative  be  assured,  by  the 
employment  of  one  of  the  Negative  Washing  Boxes  above  pictured.  Plates  are  simply 
slid  into  the  grooves,  a  guarantee  that  the  film  will  not  be  disturbed  or  marred;  a  bit  of 
hose  is  slipped  over  a  tap,  and  then  at  the  other  end  over  the  spout  on  the  box.  If  need 
be,  another  section  of  rubber  tubing  is  used  to  carry  off  the  waste  water  to  an  outlet. 
After  this  simple  preparation  the  Washing  Box  is  in  readiness  for  service. 


No.  1 ,  for  3}  x    4}  Plates, 
2,    "    4    x    5 
4|-x    5* 

5x7  " 

5x8  " 

6Jx    8J 
8    xlO 


PRICE  LIST 


"eh-* 


3, 

4, 
5, 
6, 
7, 
8, 


20 
25 
30 
35 
40 
50 
75 
25 


LARGER  SIZES  MADE  TO  ORDER. 


fainted  Negative  Washing  Soxes,  d  O  cts.  additional  for  each  size. 

Oloth  Eubber  Hose  Supplied  for  the  above  Boxes  at  28  cts.  Per  Foot, 
SCOVILL  MANUFACTURING  CO. 


238 


THE    PHILADELPHIA    PHOTOGEAPHER. 


A  SPLENDID  THING  FOR  PHOTOGRAPHERS. 

PROTECTING    CASE, 

With  Glass  Bottle  and  Graduate  Tumbler,  for  Photo.  Developer 
and  other  Solutions. 

Those  who  have  worked  in  the 
field  have  wished  very  often  for  some 
safe  method  of  earning  with  them 
their  developer  and  oiher  chemicals  in 
solution.  A  most  useful  article  is  in 
the  market  which  answers  the  purpose. 
We  allude  to  the  patent  metallic  pro- 
tecting cases  invented  for  similar  pur- 
poses. The  bottles  may  be  of  ordinary 
shape  so  they  fit  the  metal  case,  which 
latter  is  drawn  from  solid  metal,  with 
a  locking  ring  on  each  case  to  afford 
perfect  protection  for  the  bottles  con- 
taining the  liquids  which  are  trusted 
to  their  care.  They  are  made  of  dif- 
ferent sizes  :  bottles  of  one,  two,  four, 
and  eight  ounce  mixtures,  and  each 
case  is  made  adjustable  to  bottles  of 
different  lengths.  They  are  made  very 
light,  and  the  corrugation  makes  them 
so  strong  as  to  resist  crushing.  They 
can  be  packed  in  any  position.  The 
metal  is  drawn  of  even  thickness 
throughout,  by  machinery  which  has 
the  weight  of  thirty  thousand  pounds. 

The  first  figure  represents  the  case 
closed,  and  the  second  open  with  the 
bottle  therein.  The  use  of  this  arrange- 
ment assures  the  photographer  that  he 
has  a  safely  kept  stock  on  hand  of  any 
needful  solution. 


No.  1. 
No.  3  A. 
No.  4  A. 


Diameter,  \y%  in.     Length,  3%  in 
bottle,  each, 


PRICE   LIST. 

Weight,  4:%  oz. 


Furnished  with  1  oz. 


$0  50 

Diameter,  3  in.     Length,  5%   in.    Weight,  V%   oz.    Furnished  with 
4:  oz.  bottle,  with  tumbler,  making  %  pint  flask,  each, 0  85 

Furnished  with 


Diameter,  %y2    in.     Length,   7  in.    Weight,  14   oz. 
8  oz.  bottle,  with  tumbler,  making  %  pint  flask,  each 


1  10 


Wrt     11    A  Diameter,  3%   in.    Length,  6   in.    Weight,  17  oz.    Furnished  with 

11 V.   11)   A.     8  oz.  bottle,  with  tumbler,  making  %  pint  flask,  each,  .130 


J@"TRY    THEM.      NO    MORE    LEAK   OR    BREAKS 

SCOVILL  MANUFACTURING:  CO., 


W.  Irving  Adams,  Agent. 


423  Broome  Street,  New  York. 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


239 


C3r.   GHESKTIXriEBiFLT, 

No.  54  East  Tenth  Street,  New  York. 


SOLE  IMPORTER  OF 


C.  BOHMKE  &  CO.'S  IMPROVED  APLANATS. 

THE  BEST  LENSES  FOR  PORTRAIT,  RAPID  LANDSCAPES 
AND  GROUPS  YET  INTROPUCED. 


Mr.  Bohmke,  who  has  been  superintending  foreman  for  Voigtlander  &  Son  for  25 
years,  has  lately  brought  out  the  above  designated  instrument,  which  is  in  every 
respect  equal,  if  not  superior,  to  the  "Euryscope,"  combining  a  large  field,  perfect 
definition  and  brilliant  illumination  in  the  highest  possible  degree. 

^sS  *"•  magee  &  OQ 


MANUFACTURERS  OF  PURE 


Photographic  Chemicals, 

Jio.  622  Pace  Street,  Philadelphia. 


The  Standard  Quality  and  Purity  of  our  Chemicals  make  them  the  most 
desirable  and  reliable  for  photographic  use. 


-itsSTOCKDEALERS   ONLY  SUPPLIED.«=#~ 


PPFIJJPPS  of  GOpp  and  SIJ,Vpp  WASTP- 

Waste  sent  through  Stockdealers  will  receive  prompt  attention. 


240  THE    PHILADELPHIA    PHOTOGEAPHEE. 


A    GREAT  SUCCESS! 

THE 

NEW  DRESDEN  ALBUMEN 


THREE  CROWN  PAPER. 


^JadeMa^ 


#    i&     <g> 

DRESDEN  ALBUMEN  PAPER 


^  Sa/e  Ay  a//  /^ofc.  Stockdealers. 
SCOVILL  MANUFACTURING  CO., 

NEW  YORK. 


THE  PHILADELPHIA  PHOTOGRAPHER. 


241 


On  and  after  March  1st,  I  will  make  the  following  Reduction : 


3% 

x4X       •         • 

4 

x5 

4^ 

x5K       • 

4^ 

x6^       . 

5 

Ci 

x?           . 

RIME 

$    45 

5x8 

.      #1  25 

14x17 

65 

6^x8^       • 

1   65 

16x20 

75 

8      x  lO 

2  40 

17x20 

90 

10  x  12 

3  80 

18x22 

1    10 

11   x  14 

5  00 

20  x  24 

$9  OO 

12  50 

13  OO 
15  50 
18  50 


CRAMER'S  LIGHTNING  PLATES. 


TO  MEET  THE  DEMAND  FOR 

An  Extremely  Rapid  Plate 

1  am  now  making  the  above  new  brand  (blue  label),  which  is  about  twice  as  rapid 
as  niy  "Extra  Rapid"  and  nearly 

TWENTY  TIMES  MORE  RAPID  THAN  COLLODION. 


THIS  NEW  PLATE  COMBINES 

EXTREME  RAPIDITY, 

FINE  CHEMICAL  EFFECT, 

PERFECT  CLEARNESS, 

GOOD  INTENSITY, 

EASY  TO  DEVELOP, 

And    CANNOT    BE    EXCELLED. 


For  all  cases  where  Extraordinary  Rapidity  is  desirable  and  for  Large 
Work  these  "Lightning  Plates"  will,  upon  trial,  prove  their  superiority  over 
all  others. 

My  regular  brand,  the  "Extra  Rapid"  (yellow  label),  which  is  so  well 
known  and  sufficiently  sensitive  for  general  use,  will  be  kept  up  to  its  usual  high 
standard. 

BOTH  BRANDS  SAME  PRICE. 

WILL    BE    FOR    SALE    BY    ALL    DEALERS. 


DRY-PLATE  WORKS,  ST.  LOUIS,  MO. 


242  THE    PHILADELPHIA    PHOTOGEAPHEK. 


GIHON'S 

CUT-OUTS 

An  Entirely  New  Variety  for 

Printing  Medallion  Pictures, 


Are  the  very  best  that  are  made,  and  are  now  without  a  rival  in  the  market.  They  are  clean 
cut,  most  desirable  shapes  and  sizes,  and  made  of  non-actinic  paper,  manufactured  specially  for  the 
purpose.  Each  package  contains  30  Cut-Outs,  or  Masks,  with  corresponding  Insides,  assorted  for 
five  differently  sized  ovals  and  one  arch-top. 

Price,  $1.00  per  Package.    Sent  by  mail  on  receipt  of  price. 

Parties  wishing  special  sizes,  or  large  lots  of  a  few  sizes,  may  have  them  cut  to  order  promptly, 
by  addressing  the  manufacturer.      No  lot  costing  less  than  $1.00  made  at  a  time. 
_^*No  printer  should  attempt  to  make  Medallion  Pictures  without  them. 

They  Have  no  Equal  for  Quality. 

Beware  of  spurious  imitations  made  of  common  paper,  full  of  holes,  badly  cut,  and  odd  shapes  and 
sizes.  Ask  your  Stock-dealer  for  GIHON'S  CUT-OUTS,  and  see  that  they  are  in  his  envelope,  with 
instruction  circular  included.  The  recent  packages  are  composed  of  an  entirely  new  variety  and  ot  a 
new  paper.     TRY  THEM. 

Promenade  Size  now  Ready.        Sold  Separately  at  50  cents  per  Dozen, 


GIHON'S  OPAQUE 

Is  designed  for  Completely  obscuring  the  Imperfect  Backgrounds  of  Copies,  Retouching  Nega- 
tives, Faulty  Skies  in  Landscapes,  Coating  the  Inside  of  Lenses  or  Camera  Boxes, 
Backing  Solar  Negatives,  Covering  Vignetting  Boards, 
And  for  Answering  all  the  Requirements  of  the  Intelligent  Photographer  in  the  Production 

of  Artistic  Results  in  Printing. 

Wherever  you  want  to  keep  out  Light,  use  Opaque. 

IT  IS  APPLIED  WITH  A  BRUSH,  DRIES  QUICKLY  AND  STICKS. 


CUT-OUTS  (thirty),  $1.00.         OPAQUE,  50  Cents. 

FOR  SALE  BY  ALL  DEALERS. 


Address  all  orders  to 


SCOVILL  MANUFACTURING  CO.,  New  York. 


, 


THE    PHILADELPHIA    PHOTOGKAPHER.  243 


BEST 


DRES 


D£lV 


EXTRA  ifm§  BRILLIANT 

4^L/MENPAf^ 

Ever  Offered  to  Photographers. 

WHITE,  PINK,  PENSE. 


FREE  FROM  BLISTERS  AND  IMPERFECTIONS. 


A  NEW  PAPER.    NOW  READY. 

EAGLE  SATIN  FINISH, 

IN  PENSE  AND  PEARL. 

Although  my  importations  of  paper  have  had  a  most  satisfactory  sale,  and  the  old  favorite 
brands  will  be  continued  in  the  market  of  the  same  quality,  I  have  a  New  Brand,  which  I  offer 
for  public  favor  which  I  believe  to  be  SOMETHING  SUPERIOR. 

^$36.00  A  REAM.^       *^A  REAM  $36.00.^ 

FOB  SALE  BY  ALL  DEALEBS. 

IMPORTED  BX 

G.  GENNERT, 

54  E.  TENTH  ST.,  NEW  YOKE. 


FOR   SALE    BY    ALL   DEALERS. 


244  THE    PHILADELPHIA    PHOTOGRAPHER. 

A.  M.  Collins,  Son  &  Co. 

MANUFACTURE  ALL    KINDS    OF 

CARDS  AND   CARDBOARDS 

FOE 

PhotqgrapherS 


AND 


MATS.  MOUNTS.  AND  ENVELOPES 


LMJ 

FOE 


FERROTYPES. 


OFFICE  AND  WAREHOUSE, 

No.  527  ARCH  STREET, 

PHILADELPHIA. 


Price  Lists  may  be  had  by  intending  purchasers  on  application 

to  us,  or  to  all  Photographic  Merchants,  through  whom 

your  favors  are  respectfully  solicited. 


THE    PHILADELPHIA    PHOTOGEAPHBR. 


245 


THESM! 


WATMOUTI'S  VIGNETTE  PAPERS. 


No.  15  %, 

THE 

Onslij  Pattern, 

PEAR  SHAPE 

Now  Ready, 

$1.00  PER  DOZ. 


They  are  not  clumsy  ;  do  not 
break;  are  always  ready ;  cost 
but  little,  and  are  easy  of  appli- 
cation to  any  negative.  They 
need  but  one  adjustment  toprint 
any  quantity.  They  entirely 
do  away  with  all  the  old  and 
troublesome  methods,  either 
wood,  metal,  or  cotton. 


19  Sizes 


AKE 


Now  Made 

PEAR  SHAPE. 

Prices  Below. 


They  are  printed  in  black 
for  ordinary  negatives,  yellow 
bronze  for  thin  negatives,  and 
red  bronze  for  still  weaker  ones. 
Directions  for  use  accompany 
each  parcel. 


SEE  WHAT  THOSE  WHO  USE  THEM  SAY. 

The  Yignette  Papers  are  just  the  thing.  They  are  a  great  improvement,  and  will  print 
in  little  more  than  half  the  time  required  for  others.  The  results  are  everything  that  can 
be  desired,  as  you  can  see  by  samples  inclosed.  E.  D.  OKMSBY,  San  Francisco. 

FROM  PROFESSIONAL  AND  AMATEUR  PHOTOGRAPHERS. 

"  First-class." — "  The  sample  sent  answers  perfectly." — "  I  consider  them  first-rate  articles." — "  They  answer  the 
purpose  admirably." — "  They  are  the  best  vignettes  I  have  ever  had,  and  as  you  can  print  in  I  ull  sunlight,  they  are  a 
great  saving  of  time." — "  They  could  not  be  better,  oblige  me  with  another  packet." — "  I  find  them  excellent,  giving 
much  softer  pictures  than  the  old  way." — "I  have  tried  one  of  the  Vignette  Papers,  and  like  it  much;  send  me 
packets  two  and  three." — "  I  am  much  pleased  with  them,  and  shall  thank  you  to  send  meanotner  packet." — "I  did 
not  need  any  copies  of  testimonials,  having  well  known  by  experience  that  your  Vignette  Papers  were  superior  to 
anything  I  have  ever  used." — "  I  found  those  you  sent  before  excellent."—"  Vignetting  Papers  received  and  tested  ; 
can't  be  beat._  I  use  by  cutting  an  opening  in  a  piece  of  card-board  and  tacking  to  the  printing-frame,  when  I  am  ready 
for  printing  vignettes  in  the  very  best  manner." — "Waymouth  Vignette  Papers  I  have  tried,  and  they  are  just  what  I 
have  been  wanting  for  years." 

THOSE  WHO  SELL  THEM! 

ALL  STOCK-DEALERS  IHSE  ORDERS  LARGELY  SB? 

Better  than  any  patent  machine— trouble,  and  sell  better  every  month. 

PRICES: 

In  parcels  containing  one  dozen,  assorted,  from  Nos.  1  to  5 $0  50 

In  parcels  containing  one  of  each  size,  Nos.  1  to  15,  assorted  colors 1  00 

Assorted  sizes  and  colors,  by  number,  per  package  of  15 1  00 

Nos.  1,  2,  3,  4,  and  5,  assorted  sizes  and  colors,  for  Cartes,  by  number,  per  doz 50 

»     6,  7,  11,  12,  and  13,     »          »                  »       Large  Cartes  and  Victorias  by  number,  per  doz 75 

»     8,  9,  10,  14,  15,  and  15}^,  assorted  sizes  and  colors,  Cabinets  and  Whole-size,  by  number,  per  doz 1  00 

»     16,17,18,                                »                 ,,             „       Half           »               »                     »               »       125 

When  ordering,  state  the  number  and  color  you  want. 

EDWARD  L.  WILSON,  Manufacturer,  1125  Chestnut  St.,  Philad'a. 

FOR  SALE  BY  ALL  DEALERS. 

No.  18,  PEAR  SHAPE,  LAST  INTRODUCED,  $1.25. 


246  THE    PHILADELPHIA    PHOTOGRAPHER. 

HANOI'S- 

SPECIAL 


SPECIALTIES. 

I  Anderson's  Portrait  Collodion. 
This  is  especially  a  Winter  Collodion,  and  guaranteed  to  work  with  the  loveliest  har- 
mony, and  the  most  exquisite  softness,  and  freedom  from  all  the  winter  troubles 
which  Photographic  Collodion  is  heir  to.     ifgg*'  None  genuine  unless  the  signature  of  Elbert 
Anderson,  the  great  dark-room  operator,  author,  etc.,  is  pasted  over  tne  cork  of  the  bottle. 

II 


Ground  Glass  Substitute. 


Is  an  indispensable  article  in  the  photographic  gallery.     There  are  so  many  uses 
to  which  it  can  be  applied  that  a  photographer  having  once  given  it  a  trial,  will 

never  be  without  it,  as  there  is  nothing  known  that  will  take  its  place. 

The  substitute  is  in  the  form  of  a  varnish,  is  flowed  and  dried  the  same  as  varnish,  but 

dries  with  a  granulated  or  ground-glass  surface. 


For  Vignette  Glasses. 
"    a  Retouching  Varnish. 
"    Softening  Strong  Negatives. 
"    the  Celebrated  Berlin  Process. 


For  Ground  Glass  for  Cameras. 
"    Glazing  Sky  and  Side  Liights. 
"     Obscuring  Studio  and  Office  Doors. 
"    Printing  Weak  Negatives. 

All  imitators  have  given  it  up.     They  can't  make  it.     GIVE  IT  A  TKIAL. 

PRICE,  50  CENTS  PER  BOTTLE. 


mHanee's  Delicate  Cream  Gun 
GottOn  Is  the  King  Cotton,  and  has  no  peer. 

Prepared  with  particular  care,  warranted  free  from  acid,  and  very  soluble.  It  has  made 
its  way  steadily  and  surely  into  most  of  the  principal  galleries  in  the  country,  where  parties 
prefer  to  make  their  own  collodion,  and  its  superior  qualities  are  shown  in  the  medals 
awarded  at  the  Centennial,  Vienna,  and  Paris  Exhibitions  for  photographs  made  with  col- 
lodion in  which  it  was  used. 

It  is  especially  adapted  to  the  Eembrandt  style,  and  light  drapery.  Its  sensitiveness 
renders  it  particularly  adapted  for  children  or  any  work  that  requires  short  exposure,  though 
admirable  as  well  for  all  work. 

PRICE,  80  CENTS  PER  OUNCE. 

Also,  TRASK'S  FERROTYFETfl  (J  T   T  ft  ft  I  fl  1\I 
HANCE'S  DOUBLE  IODIZED  jUUllLUUlUll 

PRICE,  $1.50  PER  POUND. 

FOE  SALE  BY  ALL  STOCK-DEALEES.  NO  EETAIL  OEDEES  FILLED.  OEDEE  OF  YOUE  DEALEE 

SCOVILL  MFG.  CO.,  TRADE  AGENTS,  NEW  YORK. 


THE   PHILADELPHIA   PHOTOGRAPHER. 


247 


OPTICAL  LANTERNS 

AND 

LANTERN  SLIDES. 


Nearly  twenty  years'  experience  as  a  Dealer,  Manufacturer,  and  User  of  these   goods, 
enables  me  to  assure  satisfaction  to  every  purchaser. 

^^^EVERYTHING   SUPPLIED.-: <t< 

LECTURE  BOOKS  ON 


Send  for  New  Catalogue.    (IB  Cents  in  Stamps.) 

A  superb  list  of  Slides  from  recent  personally  made 

Negatives  of  EGYPT,  ARABIA,  ARABIA  PETRJEA, 
SYRIA,  AND  PALESTINE. 

^-CATALOGUES  READY.     THE  MOST  UNIQUE  COLLECTION  EVER  OFFERED. 


READ  WILSONS  LANTERN  JOURNEYS. 

THREE  VOLS.    VOL.  Ill,  "THE  ORIENT,"  JUST  ISSUED. 

By  mail,  $2.00  each,  Post-paid. 

EDWARD  L.  WILSON,  No.  1125  Chestnut  Street,  Philadelphia. 


248 


THE    PHILADELPHIA    PHOTOGRA  PHEE. 


JOHN  G.  HOOD. 


ESTABLISHED    1865. 


WM.  D.  H.  WILSON. 


on.  HOOD  & 

Og  V  ^  825  Arch  Street,  V>  Q 

PHILADELPHIA, 

SOLE  AGENTS  IN  THE  UNITED  STATES  FOR  THE 


Centennial,  1876. 


Centennial,  1876. 


Ross'  Portrait  arid  View  Lenses. 


WE  HAVE 

NOW 


Portrait  Lenses,  from  1-4  to  8  x  10.         I   Instantaneous  Doublets,  all  sizes. 
Cabinet  Lenses,  Nos.  3  and  3.  Medium  Angle  Doublets,  all  sizes. 

Card  Lenses,  Nos.  1,  3,  and  3.  Large  Angle  Doublets,  all  sizes. 

,    Triplets,  Nos.  1,  3,  3,  4,  5,  6,  and  7.  Stereographic  Lenses,  all  sizes. 

IN  STOCK.     L  Symmetricals.    Rapid  Symmetricals.  |   New  Universal  Lens. 

Numerous  testimonials  pronounce  them  to  be  the  best  as  well  as  the  cheapest  Foreign  Lenses  ever 
offered  to  the  American  Photographer.    We  will  mail  price  list  on  application,  and  promptly  fill  all  orders. 


Steinheil's  Sons' 


-"•NEW*- 
APLANATIC 


Lenses. 


We  nmv  Jiave  a  full  stock  of  these  Celebrated  Lenses,  at  the  following  prices  : 

No.  1—  1-4  size, 3%  inch  focus, $35  00    I   No.  4—8x10  size,...10i/  incli  focus,... $60  00 

»    3—  1-3      >»       5i/        »  »        30  00  »    5—10x13      »       ...13J6       »  »     70  00 

»    3—4-4      »       7  »  »        45  00    \   ->   »    6—13x16      »      ...16/       »  »     ....110  00 

Nos.  1  and  3  are  in  matched  pairs  for  stereoscopic  work. 
We  feel  sure  that  at  least  one  of  these  lenses  is  needful  for  the  successful  prosecution  of  your  busi- 
ness, and  so  solicit  your  orders.     Always  in  stock,  to  suit  above  Lenses,  CAMERA  BOXES  made  by 
AMERICAN  OPTICAL  CO.,  SEMMENDINGER,  ANTHONY,  BLAIR,  etc. 

"WE  KEEP  IN  STOCK  PULL  ASSORTMENT  OP 

AMATEUR  PHOTO.  OUTFITS 

DRY    PLATES    OF   ALL    MAKES. 

N.  P.  A.  EAGLE  and  S.  &  M.  PAPEE,  PER  REAM,  $30.00. 

Any  article  needed  we  can  supply,  as 
WE  MANUFACTURE,  IMPORT,  AND  DEAL  IN  ALL  KINDS  OP 

Photo.  Goods,  Frames,  Stereoscopes  and  Views, 

At  prices  as  low  as  are  consistent  with  the  quality  of  goods  furnished.  We  are  indebted  to  our 
customers  for  the  patronage  during  the  past  Nineteen  Years,  and  our  efforts  shall  be  to  merit  a  con- 
tinuance of  it. 

Illustrated  Price  Lists  supplied  free.    Correspondence  solicited. 


OF  AGE! 


Twenty-one   years   of  service   as   a    Photographic    Magazine 
having    been    fully    completed,    by    The    Philadelphia 
JPliotographer,  it  can  now  fully  claim  to  he 
"OF  AGE." 

It  was  born  when  our  art  was  itself  only  a  stripling,  and  having  grown  up  with  it  and  lived  for 
it,  now  comes  with  confidence  to  the  craft  for  support  during  its  Twenty-second  year. 

Under  the  same  editorial  care  which  gave  it  birth  and  name,  it  will  continue  its  good  work  in 
the  interests  of  the  art  of  Photography,  with  brighter  prospects  of  usefulness  and  success  than  ever 
before.  In  looking  back  upon  its  past  record,  the  editor  and  publisher  thinks  he  has  won  the 
right  to  claim 

TWELVE  REASONS  WHY  "  THE  PHILADELPHIA  PHOTOGRAPHER"  SHOULD  HAVE  THE 
PATRONAGE  OF  ALL  LOVERS  OF  OUR  ART,  AS  FOLLOWS : 

1.  The  photographic  studies  issued  with  each  number  are  a  great  help  to  workers  under  the 
skylight,  and  well  worth  the  price  asked  for  the  whole  magazine.  Over  forty  of  these  studies 
were  supplied  last  year,  and  some  fine  gems  are  preparing  for  1885. 

2.  The  editor  having  been  connected  with  the  art  for  over  one-half  of  its  existence,  is  wholly  in 
sympathy  with  the  working  craft,  and  well-knows  their  wants  to  supply  them. 

3.  Its  ability  to  anticipate  the  wants  of  the  craft  is  secured  by  its  connection  with  the  practical 
men  of  our  art  all  over  the  world;  and  the  same  long  connection  creates  a  ready  means  of 
obtaining  promptly  all  that  is  needed. 

4.  Its  enterprise  in  taking  up  and  making  popular  and  easy  all  good  processes  and  measures  is 
proverbial. 

5.  Its  war  upon  low  prices,  and  its  endeavors  to  lift  up  the  fraternity  to  better  ones,  as  well  as 
its  usefulness  in  winning  the  press  and  the  public  to  a  better  appreciation  of  our  art,  are  well  known 
to  all. 

6.  It  has  always  been  quick  in  discovering  and  exposing  frauds,  humbugs,  and  attempts  to  injure 
its  patrons.     It  is  operated  for  the  good  of  its  patrons. 

7.  Its  long  standing  as  an  authority  in  our  art,  has  won  it  connection  with  scientists  and  scientific 
bodies  all  over  the  world,  who  send  their  new  things  to  its  editor  first,  over  all  of  its  class. 

8.  Its  circulation  is  International.  There  is  not  a  land  where  English  is  read  that  it  does  not  go 
to.     It  also  circulates  in  every  State  in  the  Union,  about  as  follows : 

New  England,         .        .    21.5  per  cent.  Western  States,      .  34.4  per  cent. 

Middle  States,  .        .    24.1         "  Canada,  8.3  " 

Southern  States,     .        .    16.4  "  Foreign,     ....       5.3  " 

Thus  giving  the  best  means  of  advertising,  and  thus  securing  the  best  circulation  among  the 
active  votaries  of  the  art. 

9.  Its  form  has  been  adopted  by  all  the  other  American  magazines  of  our  art  (all  its  junior), 
but  its  quality  and  artistic  appearance  have  not  been  reached  by  any. 

10.  Its  standing  as  the  leading  magazine  of  its  kind,  has  been  maintained  ever  since  it  began. 
"  It  is  the  best  of  its  class,"  say  press  and  patrons. 

11.  Its  success  has  been  a  success,  though  its  price  is  higher  than  that  of  any  of  its  con- 
temporaries. The  best  artists  often  write,  "  I  don't  care  how  many  other  journals  there  are,  or 
how  low-priced.  I  must  have  The  Philadelphia  Photographer." 

12.  It  is  the  cheapest  of  all,  because  "  the  best  is  always  the  cheapest."  You  cannot,  therefore, 
afford  to  do  without  it. 

SUBSCRIBE  NOW.     $5.00  a  year;  $2. 50  for  six  month;  50  cts.  a  copy. 

It  has  been  our  custom  for  many  years,  to  give  old  subscribers  a  p)'emium  for  new  subscriptions 
sent  in  addition  to  their  own.  We  continue  this  plan  by  offering  one  dollar's  worth  of  our 
publications  for  each  such  additional  subscriber  for  a  year.  Please  do  all  you  can  to  increase  our 
usefulness  in  behalf  of  the  glorious  art  of  photography.     It  is  to  your  interest  to  do  so. 

For  1885  we  have  some  useful  schemes  and  novelties  under  way,  which  will  be  presented 
from  time  to  time.  Our  old  subscribers  are  asked  to  renew  now  for  1885,  so  that  the 
January  issue  will  reach  promptly.     IT  WILL  BE  A  GrEM. 

Contributions  from  both  Actives  and  Amateurs  are  invited.  Proceedings  of  Societies  are  very 
useful  and  should  be  sent  promptly. 

EDWARD  L.  WILSON,  Editor,  Publisher,  and  Proprietor,  1125  Chestnut  St.,  Phila. 


NOTICE   TO    SUBSCRIBERS. 


Inremittingby  mail,  a  post-office  or- 
der, or  draft,  payable  to  the  order  ot 
Edward  L.  Wilson,  is  preferable  to 
bank-notes.  Postage  stamps  of  the 
denomination  of  two  and  five  cents 
each  will  be  taken.  Clearly  give  your 
Post-Office,  County,  and  State. 

Foreign  subscriptions  must  be  ac- 
companied by  the  postage  in  addi- 
tion. 


ADVERTISING  sheets  are  bound 
with  each  number  of  the  Magazine. 
Advertisements  are  inserted  at  the  fol- 
lowing rates : 

One         Six        One 
Month.  Months.   Year. 

One  Page $20.00  $110.00  $200.00 

Half    '*    12.00       66.00     120.00 

Quarter  Page...  7.00  38.50  70.00 
Eighth  "  ...  4.00  22.00  40.00 
Cards,    6  lines 

orless 2.00       11.00       20.00 


The  attention  of  advertisers,  and 
those  having  galleries,  etc.,  for  sale 
is  called  to  our  Specialties  pages 
Terms,  $2  for  six  lines,  and  25  cents  foi 
each  additional  line,  seven  words  to  a 
line,  always  in  advance.  Duplicate 
insertions,  50  cents  less,  each. 

We  have  added  an  Exchange  Column 
to  our  Magazine,  wherein  photogra- 
phers having  articles  for  exchange  can 
insert  advertisements  at  the  low  price 
of  15  cents  per  line,  or  fraction  of  a 
line,  of  seven  words  to  a  line. 

Operators  desiring  situations,  no 
charge. 


THE  "CHAMPION"  CAMERA. 

REVERSIBLE  BACK. 


Camera  with  11  x  14  Extension  Attached. 


In  construciiug  this  Camera  we  have  endeavored  to  concentrate  all  the  desirable  points  which 
experience,  skill,  and  care  can  produce.  With  all  due  modesty  we  believe  we  can  say  it  has  no 
equal  in  the  world.  Fitted  with  English  Holders  unless  otherwise  specified  Made  only  in  the 
following  sizes,  except  to  order: 


6y2x8y2>\ 
'  x  8,     / , 


5 

8x10, 


Single  Swing.  Double  Swing. 

....  $42  00    $47  00 

....    45  00    50  00 


IMPROVED  EXTENSION. 

Size.                                                                     Single  Swing.                     Double  Swing. 
11  x  14,  to  go  on  6l/2  x  8lA  Camera,   $20  00     $23  00 

11x14,         »  8x10  »         20  00    23  00 

14x17,         »  8x10  »         25  00    30  00 

Price  of  either  Camera  or  Extension  includes  I   Double  Plate-Holder  and  Carrying  Case 
with  each. 

The  BLAIR  TOUROGRAPH  AND  DRY-PLATE  CO.,  Boston,  Mass. 

WAREROOMS,  NEW  YORK  AND  CINCINNATI,  OHIO. 


22d  YEAE. 


AUGUST,  1885. 


Number  260. 


50  Cents. 


THE 


PHILADELPHIA 


taograkr. 


AN  ILLUSTRATED  MONTHLY  JOURNAL, 


DEVOTED  TO  PHOTOGRAPHY. 


EDITED  BY  EDWARD  L.  WILSON. 


PHILADELPHIA:   EDWARD  L.  WILSON 

PUBLISHER  AND   PROPRIETOR, 

No.  1 1 25  Chestnut  Street. 

w»{o. 

SUBSCRIPTIONS  RECEIVED  BY  ALL  NEWS  AND  STOCKDEALERS. 
Five  Dollars  per  Annum,  in  Advance. 


Entered  at  the  Post-Office  at  Philadelphia  as  second-class  matter. 


WILSON'S  PHOTOGRAPHIOS,  Fourth  Thousand,  $4.00.  apshpelsebnndtid 


SUMMARY    OP    CONTENTS. 


Buffalo  Convention  Correspondence, 225 

First  Day. — Afternoon  Session — Address  of  the  Secretary,  Mr.  H.  McMichael,  225 ;  Report  of  Chairman  of 
Executive  Committee,  226;  Report  of  the  Committee  on  the  Progress  of  Photography,  226;  Address  of  Mr.  E. 
L.  Wilson  on  the  Dignity  of  Photographic  Art,  229. 

Second  Day  —  Address  of  Mr.  J.  F.  Ryder  on  How  to  See,  238. 

Third  Day. — Morning  Session— Address  of  Mr.  G.  L.  Hurd  on  Photographic  Portraits  versus  Camera 
Pictures,  241  ;  Reading  of  Telegraph  Dispatches,  244;  Address  of  Col.  Stuart  Wortley,  read  by  Mr.  J.  Traill 
Taylor,  on  Scientific  Development,  244;  Address  of  Mr.  J.  Traill  Taylor  on  Defects  Incident  to  the  Con- 
struction and  Use  of  Rapid  Combination  Lenses,  248. 

Third  Day. — Afternoon  Session — Address  of  Mr.  Potter  on  the  Handling  and  Development  of  Dry  Plates,  250 ; 
Address  of  Mr  William  Ashman,  read  by  Mr.  Taylor,  on  A  Portable  Support  for  Washing  Gelatine  Plates,  352. 

Third  Day.— Evening  Session — Awarding  the  Gennert  Prizes,  254. 

Fourth  Day. — Morning  Session — Election  of  Officers,  265;  Place  for  Next  Convention,  265. 

Fourth  Day. — Afternoon  Session — Address  on  The  Background,  its  Use  and  Abuse,  by  G.  M.  Carlisle,  read 
by  Mr.  Wilson,  266;  Demonstration  of  the  Eastman  Film  and  Apparatus,  by  Messrs.  Cooper  &  Jones,  271 

Our  Picture, 274 

Editor's  Table, 276 

Embellishment. — "  Portrait  Study."     By  F.  Gutekunst,  Philadelphia. 


ADVERTISEMENTS. 


ALLEN  BROTHERS.     The  Suter  Lens. 
ANTHONY  &  CO.,  E.  &  H.  T.     The  New  N.  P.  A. 

Pense  Extra  Brilliant  Dresden  Albumen  Paper. 
BIGELOW'S  ARTISTIC  PHOTOGRAPHY. 
CARBUTT,  J.     Gelatine  Dry  Plates  and  Improved 

Dry  Plate  Lantern. 
COLLINS,  SON  &  CO.,  A.  M.     Photograph  Cards. 
COOPER,  CHAS.  &  CO.     Union  Negative  Cotton. 
CRAMER,  G.      Lightning  Plates. 
DEALERS'  DIRECTORY. 
DOUGLASS,  THOMPSON  &  CO.     Supplies  for  the 

Art-Science  of  Photography. 
EASTMAN  DRY-PLATE  AND  FILM  CO. 
ENTREKIN.     Patent  Eureka  Burnisher.     Duplex 

Rotary  Burnisher.     Duplicating  Print-Cutter. 
FRENCH  &  00.,^  BENJ.     Voigtlander  &  Son  and 

Darlot  Lenses.     The  Wonderful  Euryscope. 
GENNERT,  G.     Albumen  Paper.     C.  Bohmke  & 

Co.'s  Improved  Aplanats. 
HANCE'S  SPECIALTIES. 
HODGE  &  HUSTON.     The  Solar  Printers. 
HYATT,  H.  A.     New  Brand  of  Dry  Plates. 
INGLIS,  JAMES.     "Insoluble"  Dry  Plates. 
KEEVIL'S   PATENT    NEWTONIAN    DUPLEX 

LANTERN. 


MAGEE  &  CO.,  JAS.  F.    Photographic  Chemicals. 

MOORE,  ALBERT.     Solar  Enlarger. 

MOSAICS,  1385. 

OPTICAL  LANTERNS  AND  SLIDES. 

PASSAVANT'S  DRY  PLATES. 

PHOTOGRAPHIC  C0L0RISTS'  GUIDE. 

PHOTOGRAPHIC  PROGRESS  SINCE  1878. 

PHOTOGRAPHIC  PUBLICATIONS. 

PHOTOGRAPHISCHE  MITTHEILUNGEN. 

PICTORIAL  EFFECT  IN  PHOTOGRAPHY. 

ROBINSON'S  NEW  MODEL  PHOTO.  TRIMMER. 

SCOFIELD'S  UNIQUE  CAMERA. 

SCOVILL  MANUFACTURING  CO.  New  Dres- 
den Albumen  Three  Crown  Paper.  Negative 
Washing  Boxes.     Gihon's  Cut-Outs. 

THE  BLAIR  TOUROGRAPH  AND  DRY  PLATE 
CO. 

THE  HELIOTYPE  PRINTING  CO. 

WAYMOUTH'S  VIGNETTE  PAPERS. 

WILSON,  HOOD  &  CO.  Ross  and  Steinheil 
Lenses,  Photo.  Frames,  Goods,  Stereoscopes, 
and  Views. 

WILSON'S  PHOTOGRAPHICS. 

WILSON'S  LANTERN  JOURNEYS. 

WILSON'S  VIEWS  OF  THE  ORIENT. 


TOO  LATE   FOR  CLASSIFICATION. 

Foe  Rent. — Photograph  gallery.  Established  over  twenty  years.  Has  always  been  a  success.  Now  in 
first-class  order.  New  skylight  and  all  modern  improvements.  But  one  other  permanent  gallery  in  a  town 
of  twenty  thousand.     Rare  opportunity  for  a  good  artist.     Address  C.  C.  Grosscup, 

P.  0.  Box  2387,  Bridgeton,  N.  J. 


119  South  Fourth  St. 

PHILADELPHIA. 

Branch  Office, 
605  Seventh  Street, 

WASHINGTON,  D.  G. 

IHII 

H.  HOWSOK, 

Emgir.zer  and  Solicitor  of  Patents. 

C.  HOWSOS, 

Attorney  at  Law,  and  Counsel  in 
Patent  Cases. 

THE    PHILADELPHIA    PHOTOGRAPHE  K.  209 

■shjlvxs  aaxiNn  hhi  hoh  sxnhov  hios 
'HOIW  'lilOHiaa  ^eea^s  penOTi  -g-  Ql  <$  M 


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asaqi  uBqj  punoj  aq  ubo  suaj  punojB-qB  jauaq  b  'Xsuoui  aq;  joj  '}Bq;  asoddns  l.uop  t 

•suaq  t(  g ,,  JSing  qjiM  uiooj  AjBuipjo  ire  in  paonpojd  9J3av  pip 
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AiipidBJ  sii  jo  iuiioodb  uo  >[joav  dnojS  joj  paidBpB  Xrjuainuia  si  sgugg  ,  y„  s(J9ing 

'5[joav  sno9UB}UB}Sin  puB  9dBospiiBj  in  am  Xq  pasri  AnirejsuoD  puB  uoiss9ssod  Aw 
ui  avou  sgsugg  J9ing  gq;  jo  uoiuido  pipuBD  Am  noX  9aiS  o;  pBjS  uib  j  :  s^ig  HV3Q 

•HOJJ3Q  '-song  Naaay  "sassajM 


's^aHxcraa  nstiv 

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puiqsq  sjb  say  sszis  auios  uo  puB  'sSjbj  si  puBuisp  sq}  sb  'Suuspjo  ui  ABpp 
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33}UBJBn§  3^\  uns^BuiB  qsqSug  ;u3uiui3  sq}  '-bsg  'ajSuuj  Avsjpuy  'A^uoqjriB 
q§iq  }Bqi  uiojj  id)i3\  b  qiuoui  siq}  qsijqnd  3^  -sijnssj  §uiqsiuo}SB  }sora  aq; 
p{3iX  's3;B{d  Axp  ujspoui  aqj  jo  ssn  sqi  q}iM  puB  'uopturjsp  J3^3q  3ABq  'ssusg 
tty„  3qi  sb  >[Dinb  sb  sjmb  ;ou  a^qM  'ssusg  ((  g  „  9qx     'NOIiViSLIWIimi  HNM 

pub  'anaM  ^o  ssaNivrrLi  'snooa  ^:o  Hidaa  joj   psn^Auun  pubis 

Xsqj  'soud  a\o^  b  }B  pps  qSnoq^y  *su3|  3[qB5[JBUi3J  siq}  jo  sssoons  p^usiuou 
-sqd  3qj  joj  lunoooB  giA\  siqx     'pssoons  oj  3jns  si  ;u3ut  p^3J  jo  spi^JB  uy 


'SNai  mas  m  jo  ssmdus  ivshs 


ENTREKIN'S  PATENT  EUREKA  BURNISHER. 


The  above  cut  represents  our  25  inch  Eureka. 


The  unprecedented  popularity  of  this 
Burnisher  is  wonderful.  Over  seventeen 
thousand  (17,000)  sold  in  less  than  five 
years.  Agencies  in  London,  Berlin,  and 
Vienna,  and  sold  by  all  stockdealers  in  the 
United  States.  The  machines  are  built  in 
first-class  style,  and  warranted  to  do  the 
work  claimed. 

Full  directions  accompany  each  machine. 


PR  I  CES: 


6  inch  Roll, $15  00 

lO    "      25  00 

14    "      35  OO 


20  inch  Roll, $60  00 

25    "     70  00 


ENTREKIN'S 
Duplex  Rotary  Burnisher. 

PATENTED  JUNE  1,  1875. 


PRICES: 


10  inch, $15  0( 

15      "      .        .        .  25  OC 

20      "      .        .        .        ...        .  35  0( 

25      " 45  0( 


ENTREKIN'S  DUPLICATING  PRINT  CUTTER 


Cabinet  and  Stereo.  Sizes,  $25.00  Small  Panel  Size,  $35.00. 

Size  6)4  x  8)4,  $40  00. 

MANUFACTURED  AND  FOR  SALE  BY 

W.  G.  ENTREKIN,  4384  Main  St.,  Manayunk,  Philada.,  Pa. 


THE    PHILADELPHIA    PHOTOGEAPHEE.  211 

ENTREKIN'S 

IMPROVED 

DUPLEX  ROTARY  BURNISHER. 

PATENTED. 


10  in.,  $25.00.     15  in.,  $35.00.     20  in.,  $45.00.    25  in.,  $60.00. 


This  Machine  is  an  improvement  on  our  old  Duplex  Rotary 
Burnisher,  invented  by  us  in  1874. 

It  is  so  constructed  that  by  changing  the  Large  Gear  or  Cog-wheel,  from  the  stud  to  the  end 
of  the  draw-file  or  upper  roll,  you  reverse  and  change  the  speed  of  the  lower  or  polishing  roll, 
thus  getting  the  same  result  as  in  the  old  Duplex  Rotary ;  but  to  secure  the  best  polishing  surface, 
use  the  machine  with  the  large  cog-wheel  on  the  Stud,  by  so  doing  you  secure  three  times  the 
polishing  surface.  All  the  machines  will  be  sent  out  with  gearing  so  arranged  as  to  give  this 
result.  It  is  optional  with  the  Photographer  how  he  may  use  the  machine.  The  Fire- Pan  is 
so  arranged  that  it  is  impossible  for  it  to  come  in  contact  with  the  surface  of  the  polished  roll,  and 
it  can  be  turned  away  to  cleanse  the  roll. 

EVERY    MACHINE    WARRANTED    PERFECT. 

FOR  SALE  BY 

W.  G.  ENTREKIN,  Inventor  and  Sole  Manufacturer, 

4384  Main  St.,  Manayunk,  Philadelphia,  Pa. 
AND  BY  ALL  PHOTOGRAPHIC  STOOKDEALERS. 


212 


THE  PHILADELPHIA  PHOTOGEAPHEH. 


Send  to  the  Eastman  Dry  Plate  and  Film  Company 
for  full  particulars  of  their  New 

PAPER  NEGATIVE  PROCESS. 


NEGATIVE  PAPER,  Cut  Sheets. 

NEGATIVE  PAPER  on  Spools  for  Roll  Holders. 

ROLL  HOLDERS,  for  Exposing  Negative  Paper 
in  the  Continuous  Web. 

CARRIERS,  for  Exposing  Negative  Paper. 

CUT  SHEETS  in  Regular  Sizes. 

For    Sale    "fc>y    all    Dealers. 


TRY  THE  COMING  PROCESS. 


THE  EASTMAN  DEY  PLATE  AND  FILM  CO. 

ROCHESTER,  N.  Y. 


THE    PHILADELPHIA    PHOTOGRAPHER.  213 

THE 

Eastman  Dry  Plate  and  Film  Co. 

NEGATIVE  PAPER  OUTFITS, 

FOR 

MAKING  PAPER  NEGATIVES  IN  ORDINARY  HOLDERS. 


CONTENTS: 


2  Doz.  Negative  Paper. 
1  8-oz.  bottle  Developer. 


1  8-oz,  bottle  Castor  Oil. 
1  6-in.  Vel.  Rubber  Squeegee. 


2  Carriers,  complete. 


5x8  Outfit,  complete,  with  Carriers    1-8   inch 

thick  for  Dry-plate  Holders,  put  up 

in  neat  box. 

PRICE,  $3.50. 

5x7   Outfit,  complete,  with  Carriers  3-16  inch 

thick  for  Wet-plate  Holders,  put  up 

in  neat  box. 

PRICE,  $3.00. 


FOR  SALE  BY  ALL  DEALERS. 


214  THE  PHILADELPHIA   PHOTOGRAPHER 


The  Following  is  of  Interest  to  Every  Photographer. 


THE  NEW  N.  P.  A. 


PENSE. 


We  desire  to  call  attention  to  our  NEW  PENSE  N.  P.  A.  Extra  Brilliant 
Dresden  Albumen  Paper. 

The  manufacturers  at  Rives  have  recently  many  marked  improvement  in  their 
celebrated  paper,  and  all  the  sheets  of  this  brand  are  manufactured  specially  for 
it,  and  are  readily  distinguished  from  all  other  papers  by  the  water-mark  N.  P.  A. 

It  is  doubly  albumenized  by  the  most  experienced  house  in  Germany,  with 
new  and  improved  formulas,  and  we  are  confident  that  on  trial  it  will  be  found 
superior  to  any  other  in  market. 

Its  excellence  has  induced  some  unscrupulous  persons  to  place  the 
STAMP  on  the  Paper  of  other  makers,  in  order  to  work  it  off,  trusting  that 
photographers  will  not  look  through  to  see  if  the  water-mark  is  there.  To 
prevent  this  we  have  registered  JSJST'Tliis  Trade  Mark~fgg  in  Washington,  which  will 
subject   to    heavy   damages    all     <<?^  ^-£4        those  who  stamp  this  brand 

on  paper  which  does  not  bear  v  N.P.A.  ^  the  water-mark  N.  P.  A. 
This  Paper  can  be  had  also  in        DRESDEN.        PINK,  PEARL  or  WHITE. 

FOR  SALE  BY  ALL  DEALERS  IN  PHOTO.  GOODS  IN  U.  S.  AND  CANADA. 


E.  &  H.  T.  ANTHONY  &  CO., 

591  Broadway,  NEW  YORK. 

N.  B. — When  any  paper  is  offered  to  you  at  a  low  price,  Measure  it. 

Also  note  whether  it  runs  Uniform,  for  some  albumenizers  mix  the  first  and 
second  qualities,  not  discarding  that  which  has  defects,  and  thus  get  their  paper 
cheaper. 


THE    PHILADELPHIA   PHOTOGEAPHEE. 


215 


IN  THE  PRICE  OF  THE  POPULAR 

Stanley  Dry  Plates 


FOLLOWING  IS  THE  11 EDUCED  PRICE  LIST: 


3%.  x  4X>  Per  dozen, 

4x5,  » 

4X  x  5>£,  » 

4X  x  63/, 

5x7,  » 

5x8,  » 

6)4  x  8)4,  » 

8x10,  » 


45 
65 
75 
90 
10 
25 
65 


2  40 


10  x  12,  per  dozen, 

11  x  14, 
14  x  17, 

16  x  20,  »> 

17  x  20,  » 
18x22,  » 
20  x  24,  » 


$3  80 
5  OO 
9  00 

12  50 

13  00 
15  50 
18  50 


These  Plates  have  met  with  remarkable  favor  among  both  amateur  and 
professional  photographers,  and  the  demand  is  much  greater  than  could  have 
been  expected  within  the  short  time  that  has  elapsed  since  their  introduction. 
Their  rapid  rise  to  popularity  is  a  sufficient  evidence  of  their  superior  qualities, 
for  with  so  many  plates  in  the  market,  nothing  but  intrinsic  excellence 
could  have  brought  them  so  suddenly  into  their  conceded  position  of  the 
best  plates  made.     FOR  SALE  BY  ALL  DEALERS. 


IMPORTANT 


#'™pJls 


DISCOVERT. 


Tropical  Dry  Plates. 

The  only  Dry  Plates  made  that  will  not  frill  in  water  of  any  temperature, 
and  can  be  dried  by  artificial  heat.  By  their  use  the  negative  can  be  developed, 
fixed,  and  dried  in  a  few  minutes,  enabling  proofs  to  be  taken  from  them  at  once. 
They  are  Rapid  and  Uniform,  unsurpassed  for  softness  and  delicacy,  and  can  be 
used  in  the  hottest  climates. 


3% 


>)£  x  4^,  per  dozen, 

4x5, 
4#  x  5)4, 
A)i  xO%, 

5x7, 

5x8, 
6^  x8X, 

8  x  10, 


PRICES  AS  FOLLOWS: 


$0  50 
75 
85 
05 
30 
45 
90 
80 


10  x  12,  per  dozen, 

11x14,  » 
14x17, 

16  x  20,  » 

17  x  2o,  » 

18  x  22,  » 
20  x  24,  » 


$4  00 

5  85 

10  50 

14  50 

15  25 
18  00 
21  50 


E.  &  H.  T.  ANTHONY  &  CO. 

Sole  Agents. NEW  YORK. 

CAN  BE  HAD  OF  ANY  DEALER  IN  PHOTO.  MATERIALS. 


216 


THE    PHILADELPHIA    PHOTOGPAPHEB. 


THE  BEST  AND  THE  CHEAPEST. 


GREAT  REDUCTION  IN 

PRICES   OF  DRY  PLATES. 

FROM  AND  AFTER  MAY  10,   1885,  THE  PRICES  OF 

Eastman's  Special  Dry  Plates 

WILL.  BE  AS  FOLLOWS  : 


3^  x 

4% 

$o     45 

10x12 

$3  80 

4      x 

5 

65 

11x14 

5  00 

4%  x 

5^ 

75 

14x17 

9  00 

4%  x 

6% 

90 

16  x  20 

12  50 

5       x 

7 

1    10 

17  x  20 

13  00 

5      x 

8 

1   25 

l8  X   22 

15  50 

6j/2  x 

sy2 

1   65 

20  x  24 

18  50 

8      x 

IO 

2  40 

Eastman  Special  Dry  Plates  give  the  best  chemical  effects,  and  photographers 
are  invited  to  compare  them  with  any  other  plate  in  the  market  for  Brilliancy, 
Roundness,  and  Quick  Printing. 

Owing  to  improvements  made  from  time  to  time,  and  the  extreme  care  exer- 
cised in  every  detail  of  their  manufacture,  these  plates  are  quick,  clean,  and 
uniform. 

Only  the  best  English  glass  is  used.  No  cheap  French  glass,  such  as  is  em- 
ployed in  inferior  plates.     Try  them  and  you  will  use  them. 


FOR  SALE  BY  ALL  DEALERS. 


MANUFACTUBED  ONLY  BY 


THE  EASTMAN  DRY  PLATE  AND  FILM  CO., 

ROCHESTER,  N.  Y. 


THE    PHILADELPHIA    PHOTOGRAPHER  217 

Benj.  French  &  Co. 

No.  319  WASHINGTON  STREET,  BOSTON, 

Sole  Agents  in  the  United  States  for  the  Celebrated  Lenses 
Manufactured  by 

VOIGTLANDER   &  SON. 


ALSO,  TEBIB  FAMOUS 


Which  is  unrivalled   for  groups,  full-length   figures,  and  other  demands  in  the 
gallery,  and  every  species  of  out-door  work,  including  instantaneous  photography. 

O^-  THE  EURYSCOPE  is  made  exclusively  by  Voigtlander  &  Son,  and  their 
name  is  engraved  on  the  tube. 


PORTRAITS.    DARZflOT     L£lNS£S    VIEWS, 


IMPORTERS,  ALSO,  OF  THE  CELEBRATED 

TRAPP  &  MUNCH 

ALBUMEN    PAPER, 

AND  DEALERS  IN  ALL  KINDS  OF 

Photographic  Materials  and  Magic  Lantern  Slides. 


SEND  FOR  OUR  NEW  ILLUSTRATED  PRICE  LIST  OF  LENSES 


218 


THE  PHILADELPHIA  PHOTOGEAPHEE. 


THE    PHILADELPHIA    PHOTOGRAPHER.  219 

A  GLOW  of  PHOTOGRAPHIC  PUBLICATIONS 


The  amateur  and  his  old  friend,  the  daily  worker,  are  well  taken  care  of  in  the 
literature  line,  and  we  ask  their  attention  to  the  following  list,  which  includes 
about  everything  there  is  need  for.  There  is,  in  fact,  a  treatise  on  every  branch 
of  photography. 

The  Philadelphia  Photographer.  A  monthly  magazine,  illustrated  by  photographs  of 
superior  merit.  $5  a  year;  $2.50  for  six  months. — Stands  ahead  of  all  its  kindred.  Eighteen 
years  of  success  is  a  sufficient  guarantee  of  its  value  and  use  to  the  practical,  working,  growing 
photographer.     Do  not  go  without  its  valuable  help. 

The  Perrotyper's  G-uide.  Price,  75  cents. — Cheap  and  complete.  For  the  ferrotyper 
this  is  the  only  standard  work.     Seventh  thousand. 

Pictorial  Effect  in  Photography.  By  H.  P.  Robinson.  Cloth,  $1.50;  paper  cover, 
$1. — For  the  art  photographer. 

"Wilson's  Photographies.  The  newest  and  most  complete  photographic  lesson-book. 
Covers  every  department.     352  pages.     Finely  illustrated.     Only  $4.     By  Edward  L.  Wilson. 

"Wilson's  Lantern  Journeys.  By  Edward  L.  Wilson.  In  three  volumes.  Price,  $2  per 
volume. — For  the  lantern  exhibitor.  Gives  incidents  and  facts  in  entertaining  style  of  about  2,000 
places  and  things,  including  200  of  the  Centennial  Exhibition. 

Bigelow's  Artistic  Photography.  Price  reduced  to  $4. — For  the  lover  of  art.  Beats 
his  "Album  of  Lighting  and  Posing."     Superb !     With  twelve  photographs  and  instructions. 

Studies  in  Artistic  Printing.  By  C.  W.  Hearn.  Price,  $3.50. — Embellished  with  six 
fine  cabinet  and  promenade  portrait  studies. 

The  Photographic  Colorists'  G-uide.  By  John  L.  Gihon.  Cloth,  $1.50. — The  newest 
and  best  work  on  painting  photographs. 

Photographic  Mosaics,  1884.  A  year-book.  Cloth  baund,  $1 ;  paper  cover  50  cents. 
Better  than  any  of  its  predecessors. — Back  volumes,  same  price. 

The  Photographic  Amateur.  By  J.  Traill  Taylor.  A  guide  to  the  young  photogra- 
pher, either  professional  or  amateur.     Price,  50  cents. 

The  Art  and  Practice  of  Silver-Printing.  By  H.  P.  Robinson  and  Capt.  Abney, 
R.E.,  F.R.S.     Price,  50  cents.     Illuminated  cover.     Cloth  bound,  75  cents. 

How  to  Make  Pictures.  (Second  edition  of  5,000  copies.)  The  ABC  of  Dry-plate  pho- 
tography.    By  Henry  Clay  Price.     Price,  illuminated  cover,  50  cents ;  cloth,  75  cents. 

Photography  with  Emulsion.  By  Capt.  W.  De  W  Abney,  R.E.,  F.R.S.  Price,  $1 
per  copy. 

Twelve  Elementary  Lessons  in  Dry-plate  Photography.  Price,  25  cents  per 
copy. 

The  Modern  Practice  of  Retouching.    Price,  50  cents  per  copy. 

The  Spanish  edition  of  How  to  Make  Pictures.  Ligeras  Lecciones  sobre  Fotografia 
Dedicados  a  Los  Aficionados.     Price,  $1  per  copy. 

The  Progress  of  Photography  Since  1 879.  By  Dr.  H.  W.  Vogel.  A  splendid  helper 
to  all  workers.     Price,  $3.  % 

Picture  Making.     By  H.  P.  Robinson.     Cloth,  $1.     Paper,  50  cents. 

All  orders  for  above  will  be  filled,  free  by  post,  on  receipt  of  price  at  the 
office  of  this  magazine. 

EDWARD  L.  WILSON,  Photo.  Publisher,  1125  Chestnut  St.,  Phila. 


220  THE    PHILADELPHIA    PHOTOGKAPHEK. 

JAMES   INGLIS, 

MANUFACTURER  OF  THE 

Inglis  Dry  Plates, 

ROCHESTER,  N.  Y. 


INGLIS'  NEW  DRY  PLATE. 

E.  L.  Wilson  says  they  are  too  quick  for  him  in  New  Orleans, 
but  adds,  the  quality  is  all  right.     Send  us  slower  ones. 

Negatives  made  in  one  or  ten  seconds,  both  equally  good. 
We  saw  this  done,  and  so  exactly  alike  were  the  two  negatives 
they  could  not  be  told  apart.  Both  taken  on  one  plate  then  cut 
in  two.  Fred.  Robinson,  Trumansburg. 

Hale,  Seneca  Falls. 

For  Transparencies  they  are  not  excelled.  How  to  develop 
for  positives.  For  quick  or  slow  exposures.  For  hard  or  soft 
negatives,  find  in  our  directions,  which  will  enable  the  youngest 
amateur  to  work  successfully.     Will  send  them  by  mail  on  request. 


THERE  IS  NO  FEAR  OF  FRILLING. 


SGOVILL  MANUFACTURING  CO,  AGENTS. 

And  For  Sale  by  most  of  the  Dealers. 


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Scovill  Manufacturing  Company,  Trade  Agents. 
FOR  SALE  BY  ALL  DEALERS. 


222  THE    PHILADELPHIA    PHOTOGRAPHER. 

@ THE 9 


PROGRESS  OF  PHOTOGRAPHY 

FROM     1879    TO     1884. 
By  DR.  E  W.  VOGEL, 

Professor  and  Teacher  of  Photography  and  Spectrum  Analysis  at  the  Imperial 

Technical  High  School. 


NCW    READY. 

A  Review  of  the   more   Important   Discoveries   in 

Photography  and  Photographic  Chemistry 

within  the  Last  Four  Years. 

READ    WHAT    HE    SAYS    ON 

EMULSION   PHOTOGRAPHY, 

AND 

THE  CHAPTER  ON  PHOTOGRAPHY  FOR  AMATEURS. 

INTENDED  ALSO  AS  A  SUPPLEMENT  TO  THE  THIRD  EDITION 
OF  THE  HANDBOOK  OF  PHOTOGRAPHY. 

Revised  by  EDWARD  L.  WILSON,  Editor  Philadelphia  Photographer. 
Translated  from  the  German  by  ELLERSLIE  WALLACE,  Jr.,  M.D. 


$3.00.  347    PAGES.  $3.00. 

With  Seventy-two  Illustrations,  and  an  admirable  portrait  taken  with 
Electric  Light,  by  W.  Kurtz,  New  York. 

(SEE  OPPOSITE  PAGE.) 


THE  PHILADELPHIA  PHOTOGRAPHER. 


223 


VOGEL'S 


Progress  in  Photography. 


CONTENTS: 


CHAPTER  I. 
PHYSICAL  EFFECTS  OF  LIGHT. 

CHAPTER  II. 
CHEMICAL  EFFECTS  OF  LIGHT. 

A.  Effects  of  Light  upon  Metalloids  and  their 

Compounds. 

B.  Effects    of  Light  upon   Metals  and   their 

Compounds. 
The  Double  Salts  of  Iron  and  Oxalic  Acid. 
The  Iron  Lichtpaus  Process. 
Actinium,  a  new  Metal. 
Salts  of  Copper. 
Salts  of  Chromic  Acid. 
Combinations  of  Mercury. 
Platinum  Printing. 
The  Salts  of  Silver. 

The  Various  Modifications  of  Bromide  of 
Silver  and  the  Chemical  Principles  of  the 
Emulsion  Process. 
Photo-chemistry  of  Chloride  of  Silver. 
Rare  Salts  of  Silver. 

CHAPTER  III. 
PHOTOGRAPHIC  CHEMISTRY. 

Different  Forms  of  Pyroxyline, 
Concerning  the  Characteristics  of  Gelatine. 

CHAPTER  IV. 
PHOTOGRAPHIC  OPTICS. 

New  Objectives. 

Artificial  Light  and  its  Application  to  Pho- 
tography. 
Chemical  Photometers. 

CHAPTER  V. 
PHOTOGRAPHIC  APPARATUS. 

Cameras,  Changing-boxes,  and  Tripods. 
Instantaneous  Shutters. 


CHAPTER  VI. 

THE  NEW  PHOTOGRAPHIC 
PROCESSES. 

A.  New  Negative  Processes  (Dry  Processes). 
Pi epa ration  of  Gelatine  Emulsion. 

a.  The  Author's  Method. 

b.  Eder's  Method  with  Ammonio-nitrate 

of  Silver. 

c.  Eder's  Combination  Method  with  the 

Author's  Modification. 

d.  Eder's  New   Method  with  Carbonate 

of  Ammonia. 

e.  Precipitation  Methods. 

f.  Vogel's  Emulsion. 

B.  The  Manipulation  of  the  Gelatine  Plates. 

1.  Gelatine  Plates. 

a.  The  Exposure. 

b.  The  Development. 

c.  The  Fixing. 

d.  The  Intensifying. 

e.  The  Drying  and  Finishing. 

2.  Vogel's  Emulsion  Plates. 

3.  Failures  in  Gelatine  Plates. 

4.  Notes  on  the  Gelatine  Process. 

C.  New  Positive  Processes. 

1.  The  Platinum  Processes  (Platinotype). 

2.  New  Silver  Printing  Processes. 

3.  New  Enlargement  Processes  and  Appa- 

ratus. 

4.  New  Permanent  Printing  Processes. 

CHAPTER  VII. 

PHOTOGRAPHIC  ESTHETICS  AND 
PORTRAIT  TECHNIQUE. 

CHAPTER  VIII, 
PHOTOGRAPHY  FOR  AMATEURS. 


$3.00 PRICE $3.00 


MAILED  ON  RECEIPT  OF  PRICE,  BY 

EDWARD  L.  WILSON,  1125  Chestnut  St.,  Philadelphia. 


224 


THE    PHILADELPHIA    PHOTOGRAPHER. 


DEALERS'  DIRECTORY. 


The  following  houses  are  to  be  recommended  as 
the  best  for  photographers  in  their  localities. 

4 


S.  T.  BLESSING, 

New  Orleans, 

La. 


THE 

BEST  BOOK 

IS 


SMITH  &  PATTISON, ' 

New  Location, 

145  &  147  Wabash  Avenue, 

Chicago. 


H.  A.  HYATT, 

Mound  City  Photo,  Stock  House, 

8th  and  Locust  Sts., 

St.  Louis,  Mo. 


WILSON'S 

PHOTOGRAPHICS, 

$4.00. 


D.  J.  RYAN, 

Savannah, 

Ga. 


SCOVILL  MANFG  CO, 

423  Broome  St., 
New  York. 


D.  TDCKER  &  CO., 


Buffalo, 


N.  Y. 


BLESSING  &  BBO., 

Galveston, 

Texas. 


C.H.CODMAN&CO. 

Boston,  Mass. 


WILSON,  HOOD  &  CO,, 

825  Arch  Street, 
Philadelphia,  Pa. 


B.  FRENCH  &  CO. 

Boston,  Mass. 


BUCHANAN,  SMEDLET 
&  BROMLEY, 

25  N.  Seventh  St., 

Philadelphia. 


EDWARD  L.  WILSON, 

Photo.    Publisher, 

LANTERN  SLIDES, 

1 1 25  Chestnut  St., 

Philadelphia. 


MDLLETT  BROS,, 

Kansas  City, 
Mo. 


OSCAR  FOSS, 

San  Francisco, 
Cal. 


E.&H.T.AMTHOM&CO. 

591  Broadway, 

New  York. 


SHEEN  &  SIMPKINSON, 


Cincinnati, 

Ohio. 


•+ 


PHILADELPHIA. 


THE 


•EDITED    BY    EDWARD    L.    WILSON, 


Vol.  XXII. 


AUGUST,    1885. 


No.  260. 


PERTAINING  TO  THE 


Buffalo,  N.  Y.,  July  14,  1885 
The  sixth  annual  session  of  the  P.  A.  of  A. 
was  convened  this  morning  in  the  Arsenal 
building  at  10  o'clock.  The  Association 
was  called  to  order  by  the  President.  Mr. 
Landy,  and  there  not  being  a  quorum 
present,  on  motion  of  Mr.  Cope,  of  Phila- 
delphia, the  Association  was  adjourned  until 
3  o'clock,  p.  m. 

Afternoon  Session. 

The  Association  met  at  3  o'clock,  p.m., 
when  the  following  address  was  made  by 
the  Secretary,  Mr.  H.  McMichael : 

This  is  the  day  and  the  hour  for  the  open- 
ing of  the  Sixth  Annual  Convention  of  the 
Photographers'  Association  of  America,  and 
I  have  the  honor  and  pleasure,  on  behalf  of 
the  photographers  and  citizens  of  Buffalo, 
to  welcome  you  most  cordially  to  the  hospi- 
tality of  the  city,  trusting  that  your  stay 
here  will  be  one  of  pleasure  and  profit. 


This  is  not  all.  We  hope  your  stay  here 
will  contribute  largely  to  our  satisfaction 
■  and  experience.  Entertaining  these  feel- 
ings, I  welcome  you  with  pleasure  to  this 
city,  to  which,  aside  from  its  great  terminal 
aspect,  we  attach  an  especial  significance. 
You  come  here  not  alone  for  pleasure  and 
experience ;  not  alone  for  a  brief  season 
from  the  busy  scenes  of  life,  and  from  the 
pressing  cares  of  business,  but  we  trust  yo"u 
will  come  to  advance  the  interests  of  pho- 
tography and  to  elevate  the  fraternity,  as 
well  as  for  the  building  of  a  foundation 
whereupon  you  shall  hereafter  erect  a  future 
structure. 

In  the  adjoining  hall  is  to  be  found  the 
best  results  of  genius,  the  experience  of  the 
most  advanced  workers ;  results  of  every 
description  known  to  photography.  I  be- 
hold this  assemblage  with  pleasure  and 
pride,  and  I  trust  that  the  time  is  not  far 
distant  when  every  photographer  in  America 
can  hold  up  his  head,  and  with  pride  say, 
"  I  am  a  member  of  the  P.  A.  of  A."  (Ap- 
plause.) I  am  not  expected  to  say  much  at 
this  time,  because  I  have  been  talking  for 
about  six  months,  and  I  am  getting  pretty 
tired.  So  you  will  excuse  me.  I  have  now 
the  pleasure  of  introducing  to  you  a  man 
who  thirty-five  years  ago  was  buffing  away 
at  an  old  daguerrotype;  a  little  further  on 
he  becomes  famous ;  a  little  further  on  he 
wins  laurels  across  the  sea  ;  a  little  further 
on  he  wins  laurels  in  uniting  his  works  with 
those  of  Shakespeare  in  the  "  Seven  ages  of 


15 


226 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


man;"  he  has  now  the  pleasure  of  holding 
the  highest  office  in  the  gift  of  this  Associa- 
tion, and  it  is  with  pride  that  I  now  intro- 
duce him  to  you — our  President,  James 
Landy,  of  Cincinnati,  0. 

Mr.  Landy  :  Mr.  McMichael,  on  behalf 
of  the  Association,  I  thank  you,  and,  through 
you,  the  hospitable  people  of  Buffalo.  Your 
city  is  rapidly  becoming  known  as  the  inven- 
tion city.  On  every  hand  are  the  evidences 
of  the  eon  ainore  spirit  with  which  you  have 
performed  your  duty,  and  largely  to  you  do 
we  owe  our  meeting  to-day  in  this  beautiful 
City  of  the  Lakes.  It  is  to  your  prompt 
action  to  which  we  are  indebted  for  the  use 
of  this  great  Arsenal,  secured  in  a  few  hours 
after  the  burning  of  Music  Hall.  The 
thanks  of  the  Association  are  also  due,  and 
no  doubt  will  be  formally  extended,  to  Col. 
Thomas  Waud,  for  never  before  has  this 
Arsenal  been  used  for  any  other  than  mili- 
tary purposes. 

The  Convention  is  now  open  for  business. 

On  motion,  the  calling  of  the  roll  and  the 
reading  of  the  minutes  of  the  last  session 
were  dispensed  with. 

The  President :  The  report  of  standing 
and  special  committees  is  now  in  order. 
The  Chairman  of  the  Executive  Committee, 
Mr.  W.  A.  Armstrong,  of  Milwaukee,  will 
make  his  report. 

Mr.  President,  Ladies,  and  Gentlemen  : 
A  few  years  ago  a  fellow-member  of  our 
craft  made  a  call  upon  a  few  stalwart  pho- 
tographers, soliciting  aid  as  a  guarantee 
fund  to  help  bear  the  expenses  of  a  place  to 
convene.  The  call  for  the  meeting  followed, 
and  the  ready  response  it  met  was  the  occa- 
sion for  launching  upon  the  sea  of  life  a 
little  bark  known  to  the  world  as  "  The 
Photographers'  Association  of  America." 

In  the  period  since  the  cruise  of  this  craft 
has  been  an  eventful  one.  With  adverse 
winds  she  first  drifted  east.  Then,  with  a 
prosperous  tide,  west.  Again,  south.  And 
now,  in  the  fifth  year  of  her  pilgrimage,  she 
casts  her  anchor  near  the  great  Palls  of  Ni- 
agara, registered  as  a  full-rigged  ship. 

The  voyage  of  our  craft  has  not  been  all 
smiles  and  sunshine.  She  has  had  to  breast 
the  winds  of  jealousy,  avoid  the  shoals  of 
cupidity,  and  round  the  bar  of  impotency, 
to  get  here.     But  as  she  drops  anchor  in  the 


beautiful  city   of  Buffalo,  she  is  free  from 
debt  and  freighted  with  a  rich  cargo. 

The  number  of  members  attending  the 
last  three  Conventions  has  not  varied  ma- 
terially. There  are  many  strange  faces  to 
be  met  at  each  new  place  of  meeting,  but  - 
there  are  a  corresponding  number  who  re- 
main away  on  account  of  the  change  in 
location.  Each  separate  town  at  which  the 
Conventions  are  held  appears  to  be  the 
nucleus  for  a  certain  surrounding  territory 
whose  resident  members  seldom  venture 
without  the  pale  of  its  limits.  Thus  we  are 
continually  adding  new  names  in  one  State, 
who  from  lack  of  attendance  drop  from  the 
list  in  another.  To  avoid  this,  and  keep  up 
the  prompt  payment  of  the  annual  two 
dollar  dues,  the  new  membership  fees  were 
raised  to  five  dollars. 

There  are  a  few  old  war  horses  in  the  pro- 
fession whose  presence  can  always  be  counted 
upon. 

Year  after  year  rolls  on,  and  age  leaves 
its  mar  upon  the  veteran,  yet  the  distance 
is  never  too  long  or  the  obstacle  too  great 
to  prevent  his  annual  appearance. 

And  right  here  I  would  say,  I  do  not 
think  any  professional  photographer  can 
afford  to  stay  away  from  these  gatherings, 
for  while  the  old  in  years  renew  old-time 
memories,  the  young  can  but  glean  new 
ideas  to  advance  their  personal  interests  and 
fresh  hopes  for  an  upward  career. 

And  now,  gentlemen,  as  I  look  upon  the 
happy  faces  of  the  respectable  assemblage 
before  me,  I  can  but  repeat  that  the  affairs 
of  the  Association  are  in  excellent  condi- 
tion, and  I  sincerely  hope  that  your  delib- 
erations here  will  result  in  keeping  them  so; 

The  President  then  called  for  the  reading 
of  the  report  of  the  Committee  on  the  Pro- 
gress of  Photography.  Mr.  Gentile  then 
read  his  report,  as  follows  : 

Report  of  the  Committee  on  the  Progress  of 
Photography. 

Many  would  claim  that  there  has  not  been  any 
marked  advance  in  our  profession  since  our  last 
Convention.  It  is  true  we  have  no  new  inven- 
tions to  chronicle,  but  that  photography  pro- 
gresses, in  spite  of  exceedingly  dull  times,  is  evi- 
dent. There  is  greater  knowledge  of  photography 
among  the  public  than  there  ever  was. 

Photography  is  in  greater  demand  than  ever. 


THE    PHILADELPHIA    PHOTOGrEAPHEJR. 


227 


It  is  now  introduced  in  nearly  every  branch  of 
business  and  profession.  Take,  for  example,  our 
own  city  of  Chicago.  The  police  department  has 
added  a  photographic  outfit  as  a  necessary  ap- 
pendage ;  the  detective  camera  is  now  called  into 
play  when  any  important  event  occurs. 

Our  hospitals  are  not  now  considered  complete 
unless  a  skylight  is  available  to  enable  doctors  to 
photograph  their  "brilliant"  cases,  which  they 
most  successfully  do.  I  predict  it  will  not  be 
long  before  every  newspaper  of  any  importance 
will  have  a  photographer  attached  to  their  staff. 

Amateurs  are  rapidly  increasing  in  numbers 
all  over  the  country  ;  they  are  forming  numerous 
societies,  which  have  shown  in  the  past  year  that 
they  are  willing  to  work  harder  than  our  profes- 
sionals are  willing  to  do  to  disseminate  freely  the 
information  they  possess.  The  amateur  frequently 
has  more  leisure  than  the  professional,  and  is 
imbued  with  an  over-increasing  desire  to  obtain 
"more  light." 

The  professional  is  naturally  more  jealous  than 
they  of  his  little  secrets,  if  he  has  any.  We  ex- 
pect to  get  the  majority  of  our  improvements 
from  amateurs,  because,  if  we  look  back  into  the 
history  of  photography,  and  consult  the  authors 
who  have  written  on  the  subject  of  photography, 
and  from  which  our  knowledge  is  derived,  we 
find  that  the  majority  of  them  were  amateurs, 
and  we  see  no  reason  why  we  should  expect  to 
learn  less  from  amateurs  now  than  formerly. 

It  must  be  admitted  by  all  that  during  the  past 
year  the  majority  of  papers  read  on  photography 
have  been  by  amateurs,  showing  conclusively 
that  the  amateur  will  occupy  a  prominent  rank 
in  our  literature,  as  they  have  always  done  in 
Europe. 

During  the  past  year  very  creditable  exhibition 
of  photographs,  both  by  professionals  and  by 
amateurs,  has  been  made  at  New  Orleans,  which 
attracted  the  attention  and  admiration  of  visitors. 

Many  improvements  have  been  made  in  the 
manufacture  of  dry  plates.  As  a  matter  of 
course,  the  past  few  years'  experience  has 
taught  the  manufacturers  many  lessons,  which 
they  have  not  been  slow  to  avail  themselves  of. 
There  has  certainly  been  a  most  marked  reduc- 
tion in  the  prices  of  plates,  which  has  benefited 
the  photographer. 

Commercially  the  past  has  been  a  bad  year 
for  photographers ;  prices  have  been  reduced 
lower  than  ever  before,  and  it  is  impossible  to 
foretell  the  time  when  we  may  look  for  an  ame- 
lioration of  the  present  condition  of  affairs. 

It  is  very  doubtful  if  this  Convention  now  in 
session  can  conceive  any  plan  by  which  photog- 
raphers can  be  made  to  unite  in  some  general 


agreement  which  would  enable  them  to  obtain 
better  remuneration  for  their  labor. 

The  stagnation  has  been  universal  in  Europe 
as  well  as  in  this  country  ;  however,  let  us  hope 
for  better  times  in  the  near  future. 

In  Europe  recently  a  most  successful  exhibition 
of  works  by  amateurs  has  been  held,  and  at  a  day 
not  far  off  we  shall  expect  to  see  a  Convention  of 
amateurs  held  in  the  United  States. 

Photographic  journalism  has  made  considerable 
headway  in  the  West.  A  little  over  a  year  ago 
there  was  not  a  weekly  photographic  journal  pub- 
lished here ;  now  we  have  two.  The  Photo- 
graphic Eye,  of  Chicago,  was  the  first  weekly 
published,  and  later  the  Photographic  Times 
issued  a  weekly  paper ;  Anthony  s  Bulletin, 
which  was  a  monthly,  is  now  a  fortnightly.  Dr. 
Garrison  has  issued  a  quarterly. 

Among  other  improvements  in  photography, 
we  must  not  omit  to  mention  that  the  Eastman 
Dry  Plate  and  Film  Company  has  introduced  a 
paper  negative,  and  also  a  film  which  is  stripped 
from  its  support  after  development. 

Many  improvements  have  been  made  in  the 
manufacture  of  bromo-gelatine  printing  paper 
for  positives,  and  we  may  look  for  still  greater 
improvements  in  the  materials  to  be  used  in 
their  manufacture. 

There  is  no  reason  why  we  should  not  give 
greater  attention  to  the  making  of  positives  direct 
in  the  camera,  especially  as  low  rates  for  photo- 
graphs predominate  in  many  of  our  large  cities. 
Ere  long  we  may  expect  to  be  furnished  by  our 
stockdealers  with  plates  ready  coated  with  an 
emulsion,  so  that  we  need  not  resort  to  the  bath 
and  collodion  for  even  a  tin-type.  We  have  seen 
a  good  tin-type  made  in  this  manner ;  conse- 
quently we  should  not  be  surprised  to  see  the 
much  despised  tin-type  brought  prominently  to 
the  front. 

The  past  year  has  not  been  remarkable  for  the 
number  of  improvements  that  have  been  intro- 
duced for  developing  dry  plates,  but  doubtless 
much  valuable  information  on  this  subject  will  be 
obtained  during  this  Convention. 

Great  advancement  and  much  skill  and  inge- 
nuity are  observable  in  the  manufacture  of  appa- 
ratus used  by  members  of  our  profession.  The 
great  increase  in  the  demand  for  light,  portable 
field  cameras  has  made  our  manufacturers  vie 
with  one  another  until  they  have  almost  arrived 
at  perfection,  as  will  be  seen  in  the  varied  and 
magnificent  display  at  our  Convention. 

Since  we  last  met,  photography  has  lost  a  friend 
whom  we  all  respected ;  he  was  a  man  universally 
loved  by  all  who  knew  him,  and  it  will  be  a  long 
time  before  his  place  can  be  filled.     Those  who 


228 


THE    PHILADELPHIA    PHOTOGEAPHEB. 


knew  him  well  are  fully  aware  that  the  world  will  ! 
never  know  of  the  many  acts  of  kindness  that  | 
were  performed  without  the  least  ostentation  by 
that  noble-hearted  and  true  gentleman,  the  late 
Mr.  H.  T.  Anthony,  of  New  York.  His  memory 
will  be  revered  by  all  of  us.  Few  men  have 
done  as  much  for  the  advancement  of  photography 
as  he,  and  under  the  circumstances  some  appro- 
priate testimonial  to  his  memory  should  emanate 
from  this  Convention  before  we  adjourn. 

In  Europe  one  of  the  chief  losses  to  our  pro- 
fession has  occurred  in  the  person  of  Lord  Mayor 
Nottage,  who  built  up  a  most  successful  photo- 
graphic business,  which  was  the  means  of  raising 
him  to  the  highest  and  most  honorable  position 
attainable  in  the  first  city  in  the  world,  the  great 
city  of  London,  of  which  he  was  its  chief  magis- 
trate at  the  time  of  his  death.  This  is  the  first 
instance  on  record  of  a  photographer,  by  his 
business  tact,  perseverance,  and  ability,  attaining 
to  so  high  a  position.  It  is  an  example  worthy 
of  imitation  by  all  of  us. 

Another  death  in  England  occurred  at  the  time 
we  were  holding  our  last  Convention  in  Cincin- 
nati— that  of  Mr.  Cornelius  Jabez  Hughes,  a 
well-known  photographer,  and  a  man  who  was 
universally  esteemed.  Photographic  journalism 
in  Europe  has  also  suffered  a  loss  in  the  death  of 
Mr.  Henry  Greenwood,  the  founder  and  pro- 
prietor of  the  British  Journal  of  Photography, 
which  his  ability  and  energy  made  the  most  suc- 
cessful photographic  journal  ever  published. 

In  conclusion,  it  forcibly  occurs  to  one  who 
studies  the  progress  of  photography  in  this  coun- 
try, that  greater  advancement  would  be  made  in 
our  knowledge,  and  also  a  better  feeiing  would 
exist  among  the  fraternity,  if  some  means  could 
be  devised  to  induce  the  leading  photographers 
in  our  cities  to  attend  the  meetings  of  the  photo- 
graphic societies,  and  to  devote  a  little  of  their 
time  to  the  promotion  of  the  best  interests  of  the 
profession  from  which  they  make  their  living,  and 
to  which  we  all  owe  a  debt. 

The  President :  I  will  now  announce  the 
names  of  the  following  gentlemen  as  the 
Nominating  Committee  for  the  officers  for 
the  ensuing  year:  J.  F.  Eyder,  Cleveland, 
O. ;  G.  Cramer,  St.  Louis,  Mo.  ;  E.  Cope, 
Philadelphia,  Pa.;  D.  W.  Clark,  Indian- 
apolis, Ind. 

On  motion,  it  was  agreed  to  postpone  the 
proposed  excursion  to  Niagara  until  Thurs- 
day. 

President  Landy  then  read  his  annual 
report,  as  follows : 


Pellow-memhers  of  the  Photographers' 
Association  of  America  :  Without  trespass- 
ing upon  your  valuable  time,  it  seems  well 
that  I  should  sum  up  the  situation  and  the 
prospects.  As  an  association  we  have  made 
substantial  progress.  Each  year  has  marked 
an  advance  of  which  we  are  proud,  and  now 
we  find  in  the  main  hall  an  exhibit  excell- 
ing that  of  any  former  Convention,  in  the 
superiority  of  its  photographic  work,  while 
the  manufacturers  and  scenic  artists  have  also 
eclipsed  former  efforts.  With  a  feast  for  all 
lovers  of  our  beautiful  art  as  a  stimulus, 
there  is  bright  prospect  of  an  interesting 
time.  The  reunion  at  Cincinnati  was  a 
memorable  one,  reflecting  credit  upon  the 
officers  who  conducted  it.  It  shall  be  our 
effort  to  do  as  well.  The  Executive  Com- 
mittee have  spared  no  effort  to  achieve 
success,  and  failure  will  not  be  the  result  of 
their  leaving  any  stone  unturned.  I  trust 
that  our  deliberations  will  be  harmonious 
and  productive  of  general  good.  Valuable 
papers  on  themes  of  great  interest  to  each 
of  us  are  to  be  read,  and  attendance  upon 
the  daily  meetings  is  urged  upon  all.  If 
earnest  attention  is  given  the  discussion, 
every  man  of  us  will  return  to  his  studio 
well  repaid  for  the  time  given  to  mutual 
consultation.  Perhaps  the  most  vital  mat- 
ter to  be  considered  by  you  is  that  of 
prices.  It  had  been  my  intention  to  pre- 
pare a  special  paper  on  this  subject,  but 
I  have  concluded  that  it  will  be  better  to 
leave  the  matter  open  for  debate  and  action, 
without  more  than  general  suggestions. 
Were  it  not  partially  from  the  universal 
depression  in  all  kinds  of  business  that  the 
profession  is  suffering,  and  were  the  trouble 
not  to  pass  away  with  the  coming  of  good 
times  to  the  country  at  large,  the  financial 
outlook  for  photography  would  be  very 
appalling.  The  low  prices  at  which  photo- 
graphs are  being  made  is  degrading,  with- 
out bringing  about  the  desired  result  (steady 
sales),  for  the  people  cannot  be  forced  to 
purchase  what  they  do  not  want,  at  any 
figure.  A  brief  sensation  may  be  created 
by  making  a  picture  at  cost,  and  sending  a 
carriage  for  the  subject,  but  it  is  short- 
lived, and  the  result  is  humiliating.  We 
can  never  have  the  respect  accorded  other 
professions  if  we  have   none  for  ourselves. 


THE    PHILADELPHIA    PHOTOGRAPHER. 


229 


Unless  fair  prices  can  be  maintained  young 
men  of  ability  will  not  continue  to  enter 
the  profession,  and  its  future  need  not  be 
pointed  out.  I  most  earnestly  hope  that 
the  Convention  can  solve  the  difficult  prob- 
lem, and  find  some  means  to  change  the 
down  ward  course  upon  which  we  are  drifting. 

It  seems  to  me  important  that  every  mem- 
ber should  make  an  exhibit  of  his  work  at 
the  annual  reunions,  and  to  be  a!so  desir- 
able that  we  should  reciprocate,  when  pos- 
sible, the  courtesy  of  our  foreign  brethren 
in  sending  to  our  collection  such  noble  spe- 
cimens of  their  work.  The  work  of  the 
photographer  has  great  fascinations,  yet  it 
is  so  filled  with  details,  and  accompanied 
with  vexations,  that  no  class  of  men  more 
needs  relaxation. 

This  it  is  proposed,  that  our  annual  re- 
unions shall  furnish,  as  well  as  benefit,  from 
an  educational  standpoint.  The  Executive 
Committee  has,  therefore,  arranged  an  ex- 
cursion for  to-morrow.  It  goes  without 
saying,  that  it  is  to  Niagara  Falls,  standing, 
as  we  do,  almost  within  hearing  of  the  roar 
of  the  great  cataract — Mecca  of  all  artists. 

Mr.  E.  L.  Wilson  was  then  called  upon 
to  read  his  paper  on  "  The  Dignity  of  Pho- 
tographic Art." 

The  Dignity  of  Photographic  Art. 

Mr.  President,  Ladies,  and  Gentlemen  :  Soon 
after  the  July  number  of  the  Philadelphia 
Photographer  had  been  sent  out,  an  "  artist" 
friend  of  mine  came  into  my  office  and  expressed 
the  hope  that  I  would  not  risk  my  reputation  by 
addressing  you  upon  the  subject  announced  as  my 
topic  :  "  The  dignity  of  Photographic  Art."  For, 
said  he,  photography  is  not  an  art,  and,  secondly, 
I  cannot  see  where  the  dignity  comes  in.  He 
was  very  curious,  he  said,  to  know  how  I  was 
going  to  wriggle  myself  out  of  such  an  embar- 
rassment as  I  had  brought  upon  myself. 

Accustomed  as  I  was  to  hearing  such  assertions, 
I  answered  /  do  not  know,  when  he  made  his  de- 
parture, with  a  look  of  pity  upon  his  face  which 
I  shall  not  soon  forget. 

And  even  now,  I  confess,  I  do  not  know  how 
I  am  to  wriggle  out  of  the  embarrassment  which 
has  been  brought  upon  me  by  our  otherwise 
excellent  Secretary,  in  placing  me  first  upon  the 
list  to  address  you. 

I  ask  your  forbearance  while  I  try. 

Before  I  can  say  much  for  the  dignity  of  pho- 
tography,  I  must,  I  suppose,  in  order  to  make 


happy  my  painter  friend,  establish  the  fact  that 
photography  is  an  art,  and  that  its  productions 
may  be  justly  considered  as  works  of  art. 

I  will  endeavor  to  be  brief.  I  must,  I  suppose 
use  somebody's  artistic  measuring  rod  as  my 
standard.  I  will  choose  one  of  a  sort  that  is 
popular  among  painters,  and  one  whose  honesty 
cannot  be  questioned. 

During  the  past  winter  it  was  my  privilege  to 
listen  to  a  very  learned  talk  by  the  distinguished 
orator,  Monsignor  Capel.  His  topic  was  "How 
to  Look  at  Pictures." 

He  began  by  explaining  his  understanding  of 
what  "  art "  meant,  and  then  tried  to  reveal  its 
rules  and  to  explain  how  to  understand  whether 
a  picture  was  or  was  not  painted  according  to  the 
said  rules. 

He  maintained  that  art  did  not  consist  in  simply 
representing  the  person  or  scene  as  it  is,  as  pho- 
tography and  low-grade  artists  attempt  to  do. 

Many  think  likeness,  or  an  illusion,  to  be  the 
first  thing  in  art.  "  But,"  said  the  reverend 
orator,  "illusion  is  not  art."  Instantaneous  pho- 
tography pictures  you  just  as  you  are,  but  this  is 
not  art.  A  photograph  can  never  be  a  work 
of  art,  though  it  may  be  artistic. 

And  this  is  true  of  a  painted  portrait.  It  may 
have  form,  feature,  color,  and  be  true  as  to  every 
detail  of  face,  hair,  body,  etc.,  and  yet  it  may  in 
no  sense  be  a  work  of  art. 

You  ask  me,  then,  in  ivhat  does  art  consist? 
A  French  author  has  answered  the  question  for 
us  in  saying  that  "  style  is  the  man" 

We  all  have  our  own  peculiar  way  of  doing 
things — our  individuality. 

This  may  illustrate  what  I  mean  by  art. 
The  portrait  painter  of  the  first  order  does  not 
represent  on  canvas  the  form,  figure,  and  ap- 
pearance of  his  subject,  but  he  studies  the  life, 
temperament,  and  character  of  the  one  he  desires 
to  paint,  and  fills  himself  full  of  the  ideal  man ; 
and  this  he  pours  out  in  living  thought,  so  that 
his  picture  is  a  representation  of  his  own  concep- 
tion— a  creation  of  what  he  has  conceived  the 
person  to  be. 

A  second  or  third-rate  artist,  however,  will  not 
produce  a  picture  that  is  life-like,  though  he  may 
delineate  carefully  and  particularize  every  detail. 
Furthermore,  declared  the  learned  orator,  and 
with  consummate  truth,  "  in  every  work  of  art  the 
mind  of  the  painter  must  be  so  expressed  that  we 
discern  both  the  thought  and  the  style  of  the 
artist.  And  in  order  to  appreciate  properly 
the  work  of  the  great  masters,  we  must  place 
ourselves  in  their  position  and  endeavor  to  pos- 
sess ourselves  of  the  great  thoughts  which  were 
in  their  minds. 


230 


THE    PHILADELPHIA    PHOTOGEAPHEK 


Raphael  never  painted  but  to  set  forth  a  dogma. 

In  Titian's  famous  compositions  we  could 
always  discover  the  effort  to  secure  sympathy 
between  the  figures  and  nature. 

And  thus  far  only  did  our  orator  reveal  to  his 
audience  the  rules  of  art ;  not  advancing  one 
thought  as  to  the  rules  and  forms  of  composition 
or  of  chiaro-oscuro. 

His  method  was  a  wily  one,  for  he  knew  full 
well  that  thus  he  could  stab  the  ordinary  painter 
and  the  progressive  photographer  where  it  would 
hurt  the  most.     He  did  not  tell  the  whole  truth. 

I  maintain,  in  face  of  all  his  arguments,  in  face 
of  his  assertion  that  "  a  work  of  art  is  a  concep- 
tion, but  that  a  photograph  is  only  a  likeness," 
that  a  photograph  can  be  both,  while  a  painting  is 
very  rarely  both. 

During  my  work  at  the  World's  Exposition 
last  winter,  I  had  no  skylight.  But  when  people 
came  to  me  for  likenesses,  I  led  them  out  into  the 
beautiful  park,  by  the  lake,  or  near  the  rustic 
bridge,  or  beneath  the  moss-hung  live-oaks,  and 
there,  in  groups  after  my  own  conception,  ar- 
ranged them  agreeable  to  the  rules  of  art  as  I  had 
studied  them,  and  made  a  likeness  of  the  whole 
conception. 

Am  I  a  presumptuous  impostor,  an  anti- 
aesthetic  Bohemian,  if  I  flatter  myself  that  some 
of  my  results  were  worthy  'enough  to  be  called 
works  of  art  ?  If  not,  then  why  do  painters  buy 
them  for  studies  ? 

Monsignor  Capel,  though  he  may  be  a  fair 
amateur  painter,  and  a  clever  amateur  photogra- 
pher, need  not  leave  his  own  native  England  to 
discover  some  grand  works  of  art  in  the  concep- 
tions of  H.  P.  Robinson,  of  Tunbridge .  Wells, 
painter  and  photographer,  likeness-maker,  and 
"  artist !  "  in  every  sense. 

Rather  would  I  die,  than  give  up  my  faith  in 
the  ability  of  photography  to  produce  works  of 
art. 

When  we  look  at  a  picture  we  should  become 
one  with  it.  It  will  talk  to  us  and  we  may  talk  to 
it.  We  first  examine  its  lines,  its  light  and  shade, 
and  decide  whether  or  not  the  rules  of  art  are 
complied  with.  And  then  we  endeavor  to  dis- 
cover the  conception  of  the  artist  and  study  out 
to  what  extent  he  has  secured  what  he  attempted. 

How  often  have  we  seen  the  same  subject 
treated  in  widely  different  ways  by  various  pain- 
ters— how  variously  photographers  will  pose  and 
light  the  same  person  !  Take  the  Madonna's  for 
example:  engravings  of  them  will  show  you  just 
what  I  mean. 

In  the  Dresden  Madonna  we  see  the  staring 
eyes  of  the  Mother  of  God  expressing  surprise 
that  she  should  be  chosen  for  such  an  office.     In 


another  the  true,  tender  feeling  of  the  solicitous 
human  mother  predominates  ;  while  in  a  third 
the  artist  prefers  to  secure  a  look  of  humility  and 
timidity.  These  differences  are  differences  of 
conception  !  And  who  shall  say  to  us  that  we 
cannot,  if  we  will,  secure  such  differences  with 
our  cameras  ?  That  we  cannot,  if  we  will,  secure 
all  the  elements  of  art  in  our  pictures,  both  under 
the  sky  and  under  the  skylight? 

The  moment  I  look  upon  a  photograph  which 
approaches  a  work  of  art,  I  involuntarily  begin  to 
measure  it  by  the  rules — to  quiz  it  as  to  the  in- 
tention of  the  "likeness"  taker  who  produced  it( 
just  as  surely  as  I  do  when  I  am  feasting  in  a 
gallery  of  paintings,  and  even  now  I  am  impa- 
tient to  complete  this  reading,  that  I  may  go  into 
the  adjoining  hall  and  feed  upon  the  works  of  art 
there.  And  now,  having,  as  I  believe,  established 
the  claims  of  photography  to  a  place  among  the 
arts,  what,  may  I  ask,  do  we  understand  by  the 
dignity  of  our  art  ? 

I  maintain  that  it  is  that  element  which  consists 
in  its  being  thoroughly  believed  in,  respected,  and 
sustained  by  those  who  practise  it.  That  its 
dignity  is  commensurate  with  the  amount  of  dig- 
nity thus  imparted  to  it,  by  the  parlies  mentioned, 
in  the  ways  mentioned,  and  by  the  quality  of 
work  which  they  produce  by  its  help.  I  need  not 
add  even  a  partial  list  of  its  accomplishments  in 
order  to  maintain  its  dignity.  We  all  know  how 
the  stars  are  caught  by  its  aid,  as  they  whirl 
through  space;  how  the  pale-faced  moon  is 
mapped  for  us ;  how  the  mysteries  of  the  ages 
are  revealed ;  how  science  is  helped  by  it ;  how 
art  and  industry  employ  it  as  a  right-hand  work- 
man ;  how  it  brings  the  beauties  of  the  world  to 
every  door ;  how  it  gives  the  most  truthful  repre- 
sentations possible  of  "the  human  face  divine — 
how  it  almost  creates."  With  all  its  works  and 
ways  we  are  familiar.  They  alone  would  uphold 
its  dignity  beyond  all  question,  did  those  who 
practise  it  do  their  duty  just  as  well.  But,  alas  ! 
I  fear  they  do  not.  It  seems  to  me  that  I  never 
knew  our  art  to  hold  so  low  a  position  in  the 
public  estimation  as  it  does  now.  It  seems  to 
have  become  so  cheapened  as  to  have  scarce  any 
market  value  at  all.  The  idea  seems  to  be  grow- 
ing that  photographs  cost  nothing  to  produce, 
and  the  ignorant  patron  cannot  or  will  not  regard 
one  quality  of  productions  worth  any  more  than 
another.  He  holds  that,  because  he  sees  cheap 
prints  hawked  about  the  streets,  that  good  ones 
cannot  cost  any  more,  and  the  artist  photographer 
must  argue  his  cause  every  time  he  asks  a  living 
price  for  his  work. 

My  countrymen,  this  is  «';;dignity  and  not 
dignity  !     How  long  shall  it  last  ? 


THE    PHILADELPHIA    PHOTOGEAPHEK. 


231 


I  have  heard  the  poet  sing  : 

"All  my  life  long  I  have  beheld  with  most 
respect  the  man  who  knew  himself  and  knew  the 
ways  before  him,  and  from  amongst  them  chose 
considerately,  with  a  clear  foresight,  not  a  blind- 
fold courage,  and,  having  chosen,  with  a  steadfast 
mind  pursued  his  purposes." 

But,  alas  !  I  fear  many  of  our  co-workers  have 
"chosen"  well  enough,  but  have  not  "pursued 
with  a  steadfast  mind."  Our  only  hope  is  in 
a  wondrous  change. 

Last  Saturday  night,  as  I  came  hitherward,  I 
looked  out  from  my  seat  and  saw  the  great  veil  of 
spray  which  arose  from  nature's  mightiest  wonder 
— the  greatest  living  picture — Niagara  Falls.  I 
felt  that  I  was  coming  into  a  great  presence.  I 
took  off  my  hat,  and  gave  way  for  a  moment  to 
memories  of  the  past.  Then  when  I  came  into 
full  view  of  the  great  cascade  and  again  heard  its 
mighty  voice  calling  to  me,  an  oppressive  feeling 
of  awe  came  over  me.  Never  before  was  I  so 
impressed  with  the  dignity  of  the  scene  as  at  that 
evening  hour.  And  just  such  feelings  of  respect 
and  wonder  and  endearment  should  and  would 
our  art  awaken,  if  its  votaries  would  maintain  its 
reputation  as  they  should. 

You  ask : 

What  shall  you  do  ?  Make  your  own  lives  all 
they  should  be. 

What  shall  you  do?     Produce  better  wore. 

WThat  shall  you  do  ?  Join  heart  and  hand  in 
securing  full  value  for  what  you  produce. 

Oh  !  What  a  beautiful  structure  could  our 
most  marvellous  of  arts  become  if  we  but  willed  it! 

About  ten  days  ago,  I  stood  near  the  base  of 
the  recently  completed  Washington  Monument. 
What  a  mighty  work  it  is,  lifting  its  aluminium 
apex  above  the  clouds.  'Stone  by  stone  aloft  it 
rose,  each  addition  increasing  its  dignity,  its  pure 
whiteness  contrasting  with  the  clouds  beyond. 
How  proud  is  the  whole  nation  of  that  glorious 
shaft !  How  proud  were  other  nations  and  indi- 
viduals to  give  a  block  towards  its  erection  ! 

So  may  we  all,  if  we  will,  add  a  block  to  our 
artistic  structure,  which  in  time  will  lift  its  proud 
apex  far  above  calumny  and  maintain  it  as  the 
highest  of  the  arts.  The  clouds  of  libel  and 
scandal  will  only  make  it  the  more  beautiful 
by  contrast,  and  every  time  we  contemplate  it,  we 
shall  be  able  to  give  a  loud  and  hearty  huzzah  for 
the  dignity  of  photographic  art. 

The  President:  The  next  subject  will  be 
a  discussion  on  the  deterioration  of  the 
gelatine  dry  plates.  It  is  something  that  is 
very  important.  We  all  see  that  there  is  a 
deterioration  going  on,  and  we  would  like 


to  have  the  subject  well  ventilated.  Can 
any  one  give  us  any  points  on  that  subject? 
If  so,  we  would  like  to  hear  them. 

A  running  discussion  followed  on  this 
topic,  opened  by  Mr.  Inglis,  who  said :  I 
would  be  very  happy,  indeed,  to  say  some- 
thing on  this  subject,  but  I  know  so  very 
little  about  it  that  what  I  would  say  would 
be  of  very  little  interest  to  this  audience. 
But  what  I  do  know  about  them  is  this,  that 
there  are  some  plates  that  do  not  deteriorate, 
and  there  are  others  that  do.  (Laughter.) 
Now  that  is  about  as  much  as  I  know. 
(Increased  laughter.) 

President:  I  for  one  have  noticed  a  de- 
terioration in  dry  plates  that  I  have  on  hand 
for  a  long  time.  This  I  have  thought  was 
caused  by  the  separator.  I  think  that  a 
fresh  plate  is  better  than  an  old  one.  I 
don't  know  the  reason.  I  naturally  sup- 
posed that  it  was  the  separator;  some  ma- 
terial in  the  separator. 

Mr.  G-.  Cramer  :  I  did  not  understand  the 
point  at  first,  whether  you  wanted  to  talk 
about  the  deterioration  of  the  plates  or  the 
deterioration  and  fading  of  the  negatives. 
I  now  understand  that  you  are  speaking  of 
the  deterioration  of  the  plates. 

President:  Both  ;  I  notice  that  the  plates 
get  a  little  thin  after  some  time  has  elapsed. 

Mr.  G-.  Cramer  :  Now  as  far  as  deteriora- 
tion of  the  plates  is  concerned,  I  believe 
that  there  is  a  great  difference  in  the  plates. 
For  example,  those  made  with  an  excess  of 
ammonia  and  extremely  rapid  plates  will 
not  keep  as  long  as  those  that  are  less  rapid. 
Then  you  have  mentioned  the  separators  as 
being  the  cause  of  the  deterioration.  They 
are,  in  a  great  many  instances,  the  cause  of 
producing  a  fog,  which  appears  first  at  the 
edges  of  the  plates  and  then  extends  to  the 
interior. 

It  has  been  our  aim  to  find  out  t^he  most 
suitable  material  for  separating  plates,  and 
so  far  we  have  not  found  anything  better 
than  separators  made  of  straw  board. 

Now,  as  to  the  second  point,  the  deteriora- 
tion of  the  negatives.  I  claim  that  when  a 
dry-plate  negative  is  properly  treated  and 
washed,  that  it  is  not  as  liable  to  change  as 
a  plate  of  the  old  style — a  collodion  nega- 
tive. If  you  were  to  see  how  careless  a 
great  many  work,  if  you  were  to  look  at 


232 


THE   PHILADELPHIA    PHOTOGRAPHER, 


their  faded  pictures  which  suffer  by  the  jaun- 
dice, you  would  not  wonder  if  you  found  that 
their  negatives  did  not  remain  unchanged. 
I  have  wondered  many  times  when  visiting 
galleries  in  some  places.  For  instance,  the 
dark-room  is  so  small  that  they  can  hardly 
turn  around  in  it,  and  they  have  no  supply 
of  water,  no  selection  of  dishes,  and  it  is  a 
wonderful  thing  to  me  how  they  can  work  in 
such  places  at  all,  but  it  is  no  wonder  why 
their  plates  should  fade.  I  believe  the  dry- 
plate  negative  should  be  washed  as  carefully 
as  a  print.  It  should  be  well  fixed  in  fresh 
hypo.  It  should  not  be  used  too  long,  and 
it  should  be  left  under  the  water  a  sufficient 
time,  and  afterwards  should  be  well  washed 
in  a  current  of  water. 

Mr.  Inglis:  When  first  I  began  making 
plates,  I  was  very  much  like  the  photog- 
raphers that  Mr.  Cramer  has  spoken  about, 
having  a  small  place,  and  not  very  many 
conveniences  around,  and,  therefore,  did  not 
finish  the  thing  as  it  ought  to  be.  I  do  re- 
member well  plates  that  were  exceedingly 
good  in  their  way,  but  full  of  spots,  and 
many  other  miserable  things  that  no  pho- 
tographer likes  to  see  any  more  than  I  do. 
This  was  not  brought  about  by  any  different 
way  in  the  making  of  the  emulsion  from 
what  it  is  made  to-day.  The  plates  I  make 
to-day  will  last  very  well,  and  I  have  no 
doubt  that  the  President  might  take  them 
from  here  to  California,  and  come  back  six 
years  afterwards  and  make  good  work  out 
of  them.  He  can  try  it  if  he  likes.  (Ap- 
plause.) 

I  was  astonished  when  last  year  I  read  in 
the  English  Year  Book  an  article  telling  us 
how  to  obtain  a  soft  negative,  and  how  to 
obtain  strong  ones.  Now  this  was  just  as 
opposite  as  the  North  is  from  the  South,  the 
way  by  which  I  would  obtain  these  two 
things.  Now,  though  I  have  said  a  little  in 
opposition  to  what  Mr.  Cramer  has  said,  I 
will  not  say  that  what  he  has  said  is  not 
correct,  followed  on  a  certain  line.  What 
I  do  say  I  repeat  with  all  the  emphasis  that 
I  can  that  it  is  not  because  of  the  extra  sen- 
sitiveness of  the  plate  that  it  deteriorates. 
For  the  fact  is  I  have  made  plates  of  the 
very  highest  order  of  sensitiveness  which 
have  not  deteriorated,  but  the  very  opposite, 
they  have  become  even  more  sensitive  than 


otherwise.  That  is  the  proof  I  have  to 
bring  forward  that  extra  sensitiveness  don't 
deteriorate. 

Then  in  regard  to  the  negatives.  This 
morning  I  heard  a  gentleman  at  my  side 
side  say,  that  he  was  afraid  that  he  would 
have  to  give  up  dry  plates  altogether,  inas- 
much as  when  he  came  to  print  duplicates 
from  these  negatives,  he  could  never  get  a 
good  plate  again.  Now  this,  I  say,  is  not 
the  fault  of  the  plate.  It  may  be  entirely 
from  another  cause. 

A  friend  of  mine  writes  that  at  least  three 
or  four  years  ago  he  made  some  plates,  and 
that  he  used  them  lately,  and  that  they  were 
just  as  good  as  the  day  he  made  them. 
Now,  if  this  is  so  in  this  case  why  should  it 
not  be  so  in  a  hundred  other  cases,  provided 
they  stand  the  same  test. 

A  gentleman  this  morning  said  to  me 
that  a  half-hour's  washing  was  not  sufficient, 
and  he  was  going  to  quit  having  anything 
to  do  with  them.  Well  this  is  a  free  country, 
and  he  can  do  as  he  likes.  This  friend  that 
I  spoke  of  left  them  in  the  water  over  night, 
and  he  washed  them,  frequently  changing 
the  water  during  the  day ;  put  them  in  a 
fresh  lot  of  water  at  night.  The  next 
morning  he  took  them  out  and  rinsed  them, 
and  set  them  aside,  and  that  is  the  way  that 
he  washed  his  plates.  I  think  that  labor 
that  he  gave  to  them  has  certainly  rewarded 
him  many  fold  over  the  one  who  wants  to 
have  them  finished  in  a  half  hour  or  five 
minutes — some  comedown  to  five  minutes. 

Now  it  is  not  necessary  that  the  negatives 
should  be  kept  in  running  water,  but,  as  Mr. 
Cramer  has  said,  plates  should  be  washed 
just  about  in  the  same  manner  that  prints 
•are.  The  film  being  so  very  different  from 
the  collodion  film  of  the  wet  process — the 
film  of  gelatine,  being  more  like  a  sponge, 
requires  to  be  soaked  out.  We  cannot 
squeeze  is  out  as  we  could  the  paper  prints, 
or  squeeze  water  out  of  a  rag.  If  we  could 
do  that  we  could  squeeze  it  out  at  once,  and 
then  the  thing  would  be  clean  from  all  that 
would  deteriorate  it  afterwards.  Since  we 
cannot  do  that  we  can  only  do  that  which 
•will  be  proper — that  is,  to  soak  it  out.  If 
this  is  done  I  think  the  negatives  will  keep 
just  as  long  as  the  collodion  negatives. 

Mr.  Clifford :  I  wish  to  state  a  few  facts 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


233 


in  regard  to  my  experience  in  keeping  dry 
plates.  "Within  the  last  month  or  six  weeks, 
I  have  exposed  plates  which  were  made  four 
years  ago.  They  came  out  very  beautiful, 
brilliant,  soft,  clear,  and  entirely  perfect  all 
over  their  surface,  as  goDd  as  I  have  ever 
worked.  These  are  the  facts  to  which  I  attest. 
Mr.  Page,  of  Connecticut :  What  I  would 
like  to  know  is  the  cause  and  the  cure  of 
the  deterioration  of  the  plates.  Now,  I 
have  used  dry  plates  a  little  over  a  couple  of 
years,  and  looking  over  my  negatives  a 
short  time  since,  I  could  not  find  one  out  of 
the  lot  that  was  made  two  years  ago  that  is 
perfect.  I  have  a  good  dark-room,  and 
good  accessories.  I  could  not  find  a  plate 
but  what  is  more  or  less  discolored.  Those 
that  I  make,  at  the  present  time,  are  subject 
to  a  great  deal  of  washing.  I  calculate  to 
wash  a  plate  after  it  is  fixed  about  half 
an  hour?  I  left  one  in  the  dish  one  night, 
and  let  the  water  run  on  it  all  night  to  see 
how  much  better  it  would  get  than  the 
others.  The  consequence  was  the  next 
morning  that  the  glass  was  there  and  that 
was  all.  (Laughter.)  ISTow  I  use  great 
care  in  my  work  I  believe.  I  make  good 
pictures  ;  have  a  fair  trade,  and  keep  up  my 
business.  While  others  speak  of  the  de- 
pression in  business,  my  business  is  good. 
This  has  been  the  case  for  the  last  two  or 
three  months.  I  don't  know  what  the 
reason  is  exactly,  but  such  is  the  fact  never- 
theless. I  go  to  work,  at  the  time,  at  my 
level  best,  and  if  there  is  anything  I  can 
get  to  make  the  thing  better,  I  get  it  with- 
out regard  so  much  to  the  price.  I  want 
good  work,  and  I  want  to  have  it  so  that  I 
am  proud  of  it  when  it  comes  out  of  my 
place  of  business.  I  feel  interested  in  it.  I 
love  it.  I  love  photographic  work.  I  ex- 
pect to  make  my  living  out  of  it.  I  have 
so  far,  and  I  expect  to  continue  doing  so, 
and  I  want  to  get  the  very  best  results  I 
possibly  can.  I  believe  that  the  people  of 
the  community  where  I  live  do  appreciate 
it  in  some  manner.  While,  of  course,  there 
are  a  good  many  people  that  don't  know 
one  kind  of  picture  from  another,  there  are 
others  who  do,  and  I  believe  that  we  can 
educate  the  people  up  to  it,  so  that  they  will 
appreciate  the  difference  and  stand  by  us  in 
our  prices  for  our  work.     If  we  do   that, 


and  if  we  all  do  it,  there  will  be  better  times 
for  us,  but  I  want  to  get  out  of  this  diffi- 
culty that  is  now  before  us,  the  difficulty  of 
plates  discoloring.  I  have  only  used  two 
kinds  of  plates  with  the  results  just  spoken 
of.  They  discolor,  and  they  do  not  work  as 
well,  and  if  there  is  any  way  out  of  this 
difficulty  I  would  like  to  have  somebody  ex- 
plain it. 

Mr.  Bellsmith,  of  Chicago:  Immediately 
after  removing  the  negative  from  the  hypo, 
and  placing  it  in  a  solution  of  alum,  I  wash 
it  under  the  faucet,  then  place  it  in  my 
washing  tank  where  it  remains  until  I  am 
ready  to  go  home,  when  it  is  taken  and 
rinsed  again  and  placed  in  the  rack. 

My  experience  with  dry  plates  has  been 
almost  the  same  with  every  brand  of  plate. 
I  have  used  some  six  brands  of  plates  within 
the  last  six  years.  In  reference  to  deteriora- 
tion I  find  that  they  grow  more  intense  with 
time,  and  become  slower  printers.  And 
although  you  have  a  negative  that  is  weak, 
thin,  and  a  poor  printer  when  you  put  it 
away,  if  you  take  that  negative  out  six 
months  or  a  year  afterwards,  it  will  make  a 
very  brilliant  print,  while  if  you  have  a 
negative  that  is  very  strong,  cold,  and  crisp, 
and  makes  a  very  beautiful  print  for  its 
first  order,  when  you  come  to  print  from  the 
same  plate  a  year  or  two  afterwards  you 
will  find  it  will  print  very  hard,  and  will 
give  you  a  very  unsatisfactory  result.   • 

The  President:  It  is  very  strange,  I  have 
had  the  opposite  experience  myself. 

Mr.  Beidel :  I  would  like  to  ask  Mr. 
Cramer  to  give  me  the  formula  for  the  elimi- 
nator. 

Mr.  Ployd,  Lock  Haven  :  I  find  that  I 
have  some  of  my  plates  discolored  that  were 
not  thoroughly  fixed  apparently  when  they 
were  taken  from  the  hypo.  They  look  as 
though  they  were  fixed,  but  in  two  days 
they  commenced  turning  a  brown  color.  I 
think  that  we  people  who  have  trouble  with 
dry  plates,  if  we  would  fix  them  thoroughly, 
we  would  not  have  the  trouble. 

Mr.  Cramer:  In  answer  to  the  question 
propounded  by  Mr.  Beidel,  in  the  remarks 
made  by  him,  and  also  the  remarks  made 
by  Mr.  Inglis,  I  wish  to  add  a  few  remarks 
to  what  has  been  already  said.  When  I 
said  that  a  very  sensitive  plate  was  more  apt 


234 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


to  deteriorate  than  a  less  sensitive  plate,  Mr. 
Inglis  did  not  seem  to  concede  what  I  said, 
but  he  says  himself  that  the  plate  gains  in 
rapidity  by  age.  I  think  that  this  is  the 
very  first  step  towards  deterioration  of  the 
plate,  and  the  plate  gets  finally  so  sensitive 
that  it  cannot  be  developed  in  any  light, 
even  the  ruby  light,  without  fogging.  I 
have  found  that  the  more  sensitive  the  plates 
are,  the  more  sensitive  they  are  to  all  other 
influences,  either  by  long  keeping,  or  by  the 
separators,  or  by  anything  else.  A  slow 
plate  may  not  be  injured  by  chemicals  con- 
tained in  the  paper  which  makes  the  sepa- 
rator, while  very  sensitive  paper  will  show 
the  marks  very  soon. 

Now  about  the  keeping  of  the  negatives, 
I  could  tell  the  probable  cause  of  that  very 
soon.  I  have  seen  some  parties  make  nice 
negatives  from  the  same  plates  resembling 
the  wet  collodion  plate  which  was  liked  so 
much,  with  regard  to  color  and  quick  print- 
ing, which  another  man  makes  from  the 
very  same  plate,  a  yellow  negative,  nasty 
looking;  so  that  it  must  be  altogether  in 
the  treatment. 

I  think  that  the  first  reason  may  be  in  the 
developer.  A  developer  which  is  old,  or 
has  decomposed  pyro,  will  produce  a  yellow 
negative ;  when  a  fresh  solution  of  fresh 
pyro  will  make  a  gray  negative.  Further- 
more, there  should  be  sufficient  care  taken 
in  the  washing  of  the  plate  before  putting  it 
into  the  fixing  bath  ;  otherwise  the  plate 
will  carry  a  certain  amount  of  alkali  into 
the  fixing  bath,  be  it  either  ammonia,  or  car- 
bonate of  potassium,  or  carbonate  of  soda; 
and,  if  the  hypo  bath  contains  a  good  deal 
of  alkali,  it  has  also  a  tendency  to  color  the 
negative  yellow.  The  fixing  bath  will  also 
produce  a  yellow  color  if  it  is  used  too  long  ; 
if  it  is  saturated  with  bromide  of  silver,  it  is 
slow  in  fixing.  It  has  been  mentioned 
before,  the  plate  should,  remain  in  the  hypo 
sufficiently  long  to  secure  perfect  elimination 
of  all  the  soluble  salts  of  silver  which  will 
still  remain  in  the  film,  after  a  plate  has  been 
apparently  fixed,  of  which  you  can  convince 
yourself.  If  you  take  such  a  plate  into  the 
light,  and  show  it  to  your  customers,  as  one 
of  the  gentlemen  has  spoken  of,  you  will  find 
that  the  plate  will  turn  yellow.very  quickly. 
It  ought  to  be  left  in  the  hypo  bath  for  a 


sufficient  length  of  time,  and  should  not  be 
exposed  to  the  light  until  it  has  had  some 
washing.  I  think  that,  if  all  these  provisions 
are  carefully  observed,  there  will  be  no  more 
complaint  about  yellow  negatives.  Also 
the  addition  of  alum  to  the  hypo  bath  will 
produce  gray  negatives  easier  than  the  plain 
fixing  bath  ;  alum  has  a  tendency  to  pro- 
duce a  gray  color,  and  not  a  yellow  color. 

A  gentleman  was  asking  me  about  the 
eliminator  and  the  formula  that  I  published. 
I  would  say  I  published  that  only  to  be 
used  in  cases  of  emergency,  when  there  was 
no  supply  of  water.  It  was  a  diluted  solu- 
tion, commonly  called  the  eau  de  javell, 
made  of  the  chloride  of  lime  and  potassium. 
I  said  at  that  time,  and  still  say  now,  that 
it  is  only  in  cases  of  emergency,  only  in  a 
season  when  a  sufficient  supply  of  water 
cannot  be  had.  I  do  not  recommend  any- 
body to  make  a  general  practice  of  it.  We 
insist  upon  a  thorough  washing  of  the  plate 
in  all  cases  in  every  way. 

Mr.  Potter :  I  have  used  dry  plates  for  a 
little  over  four  years,  and  used  oxalate  three 
years,  and  pyro  also.  Judging  from  my 
experience,  I  think  where  negatives  grow 
yellow,  and  intensify,  that  they  are  not 
properly  fixed  and  properly  washed;  but 
where  they  grow  thin,  they  are  properly 
fixed,  but  not  properly  washed.    (Applause.) 

Mr.  Bachrach  urged  the  oxalate  develop- 
ment. I  believe  our  Baltimore  friend  will 
make  a  mistake  if  he  goes  to  the  oxalate.  Not 
that  I  am  down  on  oxalate,  because  I  have 
some  fine  negatives  in  oxalate,  kept  properly. 
This  is  the  point  I  make.  In  using  large 
negatives,  I  suppose  it  is  the  experience  of 
every  one  who  uses  them  that  a  great  many 
of  the  plates  are  very  much  spotted  in  the 
centre.  You  will  notice  that  they  are  fixed 
all  around  but  in  that  one  spot  in  the  centre. 
And.  as  to  the  hypo — about  the  rapidity  of 
fixing.  The  plates  will  vary  a  great  deal, 
because  the  same  plates  will  fix  more  quickly, 
and  in  another  case  fix  very  slow  in  the 
centre.  My  experience  has  been  that  it  ap- 
plies to  the  oxalate  as  well  as  to  the  pyro  ; 
that,  when  slow  fixing  goes  on  usually  with 
the  large  negative,  you  take  it  out  and  show 
it,  because  you  are  trying  to  get  the  best 
result  you  can  ;  you  take  it  out  and  you  lift 
the  plate  up,  and  the  milkiness  disappears  ; 


THE   PHILADELPHIA    PHOTOGRAPHER. 


235 


you  take  it  out  and  go  to  washing.  Now 
that  plate  is  not  properly  fixed  in  that  spot. 
Now  I  have  plates  all  perfect,  except  in 
that  spot.  This  is  the  reason  that  some  of 
our  negatives  are  slow  in  fixing,  and  are  dis- 
colored. Negatives  three  or  four  years  old 
show  no  particle  of  discoloration  anywhere 
else  except  right  in  that  spot.     (Applause.) 

How  I  wash  the  negative  all  the  same,  so 
that  I  know  it  is  not  the  hypo.  I  do  not 
varnish  the  negatives.  The  moment  you 
get  a  bad  print  out  in  the  centre,  you  get 
hypo  in  your  print.  That  is  the  way  you 
can  find  out  your  trouble. 

Now  this  discoloration  has  not  spread,  and 
I  feel  very  positive,  where  it  is  the  case,  the 
fixing  has  not  been  properly  done,  has  not 
gone  to  a  proper  extent,  and  there  is  a  com- 
bination of  hyposulphite  of  soda.  Tour 
discoloration,  in  the  course  of  time,  probably 
in  the  mechanical  combination  of  the  gela- 
tine, causes  this  discoloration  ;  but,  if  the 
negative  is  properly  fixed,  properly  washed, 
they  are  just  as  firm  as  the  wet  one. 

Now,  then,  about  the  washing.  The 
reason  is  that  I  wash  my  plates,  taking  a 
swab  of  cotton  as  soon  as  they  come  out  of 
the  hypo — I  use  hypo  and  alum  together; 
as  soon  as  they  come  out,  I  put  them  under 
the  tap,  turn  on  the  full  force  of  the  water, 
take  this  swab  of  cotton,  wash  them  all 
over,  and  thus  get  rid  of  all  sediment  from 
the  hypo  bath  on  the  negative,  and  they  will 
wash  in  half  the  time  when  they  are  freed 
from  sediment. 

I  use  hard  water.  I  leave  the  negatives 
of  a  smaller  size  wash  for  fifteen  minutes 
under  the  tap.  If  I  have  many  negatives, 
I  have  two  or  three  taps,  and  I  set  them 
around  so  the  water  will  drop  on  them.  As 
soon  as  I  think  it  is  washed  enough,  I  put 
in  another  negative,  and  so  on  until  they 
are  all  washed.  I  give  them  all  a  washing 
under  the  tap  always  for  fifteen  minu;es, 
making  allowances.  Now,  before  I  put  the 
negatives  away,  I  take  this  same  swab  of 
cotton  and  take  off  whatever  sediment  that 
may  come  from  the  water.  Hard  water  will 
leave  somewhat  of  a  sediment  on  the  nega- 
tive. By  doing  this  you  will  have  a  much 
brighter  and  cleaner  print. 

Mr.  Inglis:  Just  one  word  more,  and  I 
will  not  inflict  myself  upon  you  for  a  very 


long  time.  Now,  ladies  and  gentlemen,  I 
think  the  nail  has  been  struck  upon  the  head, 
and  we  have  found  the  cause,  but  they  don't 
tell  us  the  cure.  Now  this  is  the  cause  of 
those  yellow  stains,  without  doubt.  I  will 
give  you  an  instance.  Two  years  ago,  in 
Philadelphia,  Mr.  Gilbert  asked  me  up  stairs 
to  look  at  some  negatives,  and  he  wanted  to 
know  what  was  the  cause  of  those  yellow 
stains.  He  said  that  different  explanations 
had  been  given  by  dry-plate  makers.  Be 
said  that  he  had  asked  the  opinion  of  every 
one.  I  instantly  said  it  was  an  unfixed 
negative.  Well,  said  he,  that  is  the  opinion 
I  have  myself.  Mr.  Carbutt  had  told  him 
something  else.  Perhaps  Mr.  Carbutt  can 
tell  us  about  it  afterwards,  but  that  was  the 
cause  of  it.  Some  large  plates  were  sent 
down  to  us  last  winter,  and  they  were  sent 
back,  with  the  comment  that  they  were  good 
for  nothing,  because  he  could  not  fix  them 
in  the  night;  there  were  spots  like  the  spot 
described  exactly.  He  said,  "  I  cannot  pay 
you  for  these;  I  have  lost  such  and  such  a 
number,  and  you  can  have  them  back."  I 
wrote  him  back  what  to  do,  and  I  never 
heard  any  further  word  from  him.  He  did 
not  want  to  pay  for  those  he  had  thrown 
away  through  his  ignorance.  I  want  to 
tell  you  what  to  do,  and  how  he  succeeded. 
You  will  notice,  if  you  take  a  plate  out 
of  the  fixing  box,  and  put  your  finger  upon 
it,  that  it  is  as  tough  as  leather;  it  is  as 
hard  as  anything.  If  you  will  take  it  and 
put  it  under  the  tap  for  a  few  minutes,  it 
relaxes  out,  the  pores  open,  and  then  you 
can  put  it  in  the  fixing  box,  and  it  will  fix 
out  as  before.  If  you  will  do  this,  you  will 
succeed  every  time  with  the  most  obstinate. 
This  has  been  my  case.  You  will  cure  that 
trouble  if  you  do  as  I  suggest.  These  yellow 
films  that  come  from  age  are,  as  it  has  just 
been  decided  here,  from  an  unfixed  negative- 
Then,  in  regard  to  the  lime,  I  always  prefer 
to  put  my  plates — and  let  me  tell  you  I  do 
not  photograph  to  any  extent;  I  merely 
test  plates;  but,  in  testing  them,  I  prefer 
putting  them  into  a  lime  before  putting 
them  into  the  soda.  I  always  had  a  clearer 
plate  by  this  means.  I  also  kept  the  soda 
clean.  Then  I  would  recommend,  as  the 
gentlemen  over  here  has  said,  always  to  set 
the  plate  on  the  edge,  and  not  to  lay  it  flat. 


236 


THE    PHILADELPHIA    PHOTOGRAPHER. 


It   will   always   drop  down   if  you    lay   it 
flat. 

Now,  then,  lastly,  but  not  the  least  in 
importance,  our  friend  here  looks  as  if  he 
was  combating  with  me,  and  now  I  must 
have  it  out.  You  know,  when  the  truth, 
or,  rather,  when  a  thing  is  put  with  a  show 
of  truth,  it  is  the  most  deceiving  thing 
imaginable.  What  Mr.  Cramer  said  was 
true — in  part.  (Laughter.)  I  said  that 
my  plate  at  least  became  more  sensitive 
with  age.  I  did  not  mean  that  he  tried  to 
make  you  believe  that  they  go  on;  unfortu- 
nately he  said,  and  become  good  for  nothing. 
I  have  plates  made  over  twelve  months  ago ; 
they  were  excellent  when  thej'  were  made, 
and  they  are  more  excellent  to-day,  and 
they  are  lovely  in  every  way.  Now  I  have 
also  made  plates  more  than  twelve  months 
ago,  and  they  were  not  worth  that  (snapping 
fingers) ;  it  shows  the  contrariness  of  emul- 
sions. Why  it  is,  I  don't  know  anything 
at  all  about  it.  But  that  is  the  case.  Let 
me  impress  upon  you  that  the  extra  sensi- 
tiveness, if  it  is  a  good  plate,  will  not  de- 
teriorate any  more  than  if  it  is  a  slow  plate. 
Furthermore,  I  will  produce  the  best  pic- 
ture seen  on  earth  with  extra  sensitiveness 
the  more  so  than  with  one  less  sensitive.  I 
can  give  you  a  reason  for  it,  but  that  is  not 
a  point  for  discussion  just  now. 

Mr.  Beidel :  I  want  to  say  just  one  word 
in  relation  to  what  Mr.  Inglis  has  said.  I 
always  rub  the  surface  of  my  plate  before  it 
is  put  in  the  water  with  a  camel's  brush — 
before  I  wash  it. 

Mr.  Carbutt,  of  Philadelphia  :  Ladies  and 
Gentlemen,  I  agree  with  the  remarks  that 
have  been  made  both  by  Mr.  Inglis  and 
Mr.  Cramer,  in  a  measure.  There  is,  as  you 
will  find  by  experience  in  working,  a  differ- 
ence in  dry  plates.  In  regard  to  what 
causes  certain  changes.  First:  I  would  like 
to  touch  upon  the  keeping  of  plates.  Per- 
haps I  have  had  the  longest  experience  in 
making  plates  of  any  man  in  America. 
There  came  into  my  hands,  a  month  ago,  a 
sample  of  plates  made  years  ago.  I  was 
glad  to  get  them.  I  had  not  myself  any 
plates  made  as  long  ago  as  that.  They  were 
tested  and  found  to  be  in  a  perfect  condition. 
They  were  put  up  with  interleaves  without 
any  blemish  whatever  on   them.     With  re- 


gard to  the  staining  caused  by  separators, 
there  are  two  causes,  and  one  is  partially 
due  to  the  dry-plate  makers  themselves, 
though  I  think  in  this  way  that  frequently 
the  plates  are  picked  out  when  they  are  not 
thoroughly  dry,  you  may  say  bone  dry,  yet 
to  all  appearances  they  are  dried,  and  the 
chemical  impurity  that  has  been  in  the 
material  forming  the  separators.  The  plate 
has  absorbed  it,  and  has  caused  this  staining. 
Now,  I  have  taken  some  pains  to  investi- 
gate the  material  out  of  which  the  separators 
are  made.  I  have  had  a  machine  for  mak- 
ing my  own  separators  so  as  to  get  the  stock 
from  a  source  where  I  would  know  whether 
there  were  any  impurities.  I  obtained  the 
information  I  wanted  from  the  party  from 
whom  I  got  the  strawboard.  Many  are 
under  the  impression  that  the  hyposulphite 
of  soda  gets  into  the  cleansing  mill.  I  am 
assured  by  those  who  make  the  material  that 
such  is  not  the  case.  I  am  assured  that 
hyposulphite  of  soda  is  not  used  in  the 
making  of  strawboard.  Lime  is  used  in 
cutting  out  the  material,  destroying  the 
fibre  of  the  straw,  the  material  ia  afterwards 
washed  with  the  washing  machine,  and  the 
hypo  does  not  enter  into  the  process.  They 
do  not  find  it  necessary  to  use  it.  But  re- 
cently I  have  found  out  that  both  Mr. 
Cramer  and  myself  have  been  investigating 
in  the  same  direction,  as  to  source  of  supply 
for  separators,  and  the  manufacturers  have 
assured  me,  and  I  have  no  doubt  that  Mr. 
Cramer  has  the  same  information  as  to  the 
material  out  of  which  strawboard  is  made, 
if  he  wants  it  for  use.  Up  to  the  present 
time  I  have  found  that  the  best  means  of 
separating  my  plates  were  separators.  Paper 
when  it  is  used,  as  it  is  also  used,  if  it  be 
put  between  the  surfaces  of  the  plates  there 
is  a  slight  concavity  in  all  glass  ;  unless 
great  pressure  is  brought  to  bear  there  will 
be  no  touching  of  the  film,  but  it  is  where 
plates  are  carried  for  a  long  distance,  and 
by  the  friction  of  travel  they  will  rub  a 
little  on  the  surface  and  in  this  way  injure 
undoubtedly  the  plate.  Where  the  films 
are  kept  slightly  separated  by  material  that 
is  not  in  any  way  injurious,  this  will  not 
take  place.  I  have  been  investigating  this 
subject  very  closely  with  regard  to  keeping 
plates,  it  is  an  important  matter  to  have  the 


THE  PHILADELPHIA  PHOTOGRAPHER. 


237 


information  as  to  the  plates,  as  to  whether 
they  can  be  carried  for  a  great  distance. 

There  is  one  matter  that  I  am  glad  to 
speak  about.  At  the  time  Captain  How- 
gate  was  fitting  out  the  expedition  to  go 
North,  I  was  called  upon  to  supply  the  plates 
for  the  unfortunate  photographer  who  lost 
his  life.  The  plates  did  not  go  any  further 
than  St.  John,  and  were  sent  back  again. 
Then  the  plates  were  stored  in  an  outhouse, 
I  was  told,  in  Washington  during  the 
winter.  They  were  brought  back  to  Phila- 
delphia, and  he  and  I,  so  that  there  might 
be  no  mistake  about  the  examination  of 
the  plates,  opened  all  the  packages,  and 
took  plates  from  here  and  there  among 
them,  and  tested  them  as  to  their  goodness 
or  not;  whether  they  should  be  sent  out 
again  with  an  increased  supply  added  to 
to  them.  In  some  cases  the  packages  taken 
out  were  wet.  The  moisture  had  been  ab- 
sorbed, and  when  the  plates  were  separated 
the  interleaves  werefound  to  be  wet.  Where 
the  plates  were  not  interleaved,  the  surfaces 
were  found  to  be  perfect  in  all  respects.  I 
do  not  think  it  is  taking  too  much  credit  to 
myself,  but  I  think  Mr.  Clifford  will  permit 
me  to  say  that  the  plates  that  he  first  re- 
ferred to  were  the  plates  that  I  made  for 
him. 

Mr.  Clifford  :  That  is  the  case. 

Mr.  Carbutt:  I  was  only  getting  at  this 
point,  as  to  what  care  is  taken  in  keeping 
the  plates.  As  to  that,  we  shalHiave  to  de- 
pend upon  the  plateinakers  of  this  country. 
They  are  doing  their  level  best  to  get  the 
very  best  material  that  can  be  procured,  to 
both  make  the  plates  and  to  put  them  up 
properly.  I  know  that  during  this  last 
week  I  put  some  up,  with  the  very  best 
cardboard  obtained  from  Collins  &  Co.,  who 
supply  me.  I  believe  that  they  have  the 
purest  that  can  be  had  ;  it  is  so  considered 
by  the  trade  for  photographic  purposes. 
Where  a  plate  is  simply  marked  on  the 
margin,  and  where  the  change  does  not 
travel  any  further  into  the  middle  of  the 
plate,  that  I  believe  is  caused  by  pressure. 
I  believe  the  more  sensitive  thejplate,  the 
more  sensitive  it  is  to  that  pressure.  When 
the  separators  are  made  of  this  material,  we 
unfortunately  have  to  depend  upon  those 
who  make  them.      The  manufacturers,  at 


first,  did  not  know  what  we  wanted.  We 
now  insist  on  knowing  what  impurities  are 
used  in  cardboard,  and  whether  it  contains 
any  chlorine.  If  there  is  any  chlorine,  it 
will  cause  a  discoloration  over  the  film.  I 
have  not  observed  it  on  any  of  the  plates 
that  have  passed  through  my  hands,  in 
which  the  separator  has  been  made  out  of 
the  same  material,  and  I  don't  think,  from 
what  I  know  of  my  brother  competitors, 
that  they  would  use  for  the  sake  of  saving 
the  cost  of  it,  which  is  so  infinitesimally 
small ;  it  is  simply  the  cost  that  is  a  small 
matter,  but  we  have  not  been  able  to  get  the 
right  thing  yet. 

Now  as  to  the  keeping  of  the  negatives. 
Some  of  you  remember  the  negatives  taken 
at  Chicago  amongst  the  first  of  the  gelatine 
negatives  taken  five  years  ago.  They  were 
made  at  the  time  of  the  Grant  procession  or 
parade  at  Philadelphia.  I  can  assure  you 
those  negatives  are  as  fresh  and  as  good  to- 
day as  when  I  finished  them,  and  developed 
them  with  pyro  and  ammonia,  and  reason- 
abl}7  washed.  But  photographers,  to  get  out 
of  this  difficulty  of  having  their  negatives 
deteriorate,  must  give  a  little  thought  to  the 
material  they  are  using ;  gelatine  has  so 
much  body  compared  to  collodion,  and  it 
holds  so  tenaciously  any  salts  in  its  inter- 
stices that  it  takes  a  long  time  to  wash  it 
out.  So  that  if  there  will  be  any  cause  of 
decomposition,  like  the  putting  in  any  un- 
washed plates  into  the  hypo  or  putting  alum 
into  the  hypo,  decomposition  commences, 
and  when  the  decomposition  commences  in 
the  film  it  is  hard  to  get  at  it.  I  agree  that 
the  plate  should  be  thorough^  washed,  put- 
ting in  the  alum  when  I  think  it  is  needed, 
especially  in  the  summer-time.  I  put  it  in 
as  a  matter  of  precaution  in  the  summer- 
time, as  it  is  advisable  to  do  it.  I  would 
further  put  into  the  solution  of  alum  the 
plate — the  solution  of  alum  and  ammonia, 
because  I  think  it  is  the  safest.  It  will  not 
deteriorate  like  chlorine  solutions.  Put  it 
into  the  fresh  solution  of  alum.  After  a 
thorough  washing,  and  then  a  good  rinsing, 
put  it  away  to  dry  ;  and  then  have  a  little 
thought  in  using  the  plates.  If  this  was 
the  case,  there  would  be  less  talk  about  the 
deterioration  of  the  negatives.  Also  keep- 
ing the  plates — keep  them  in  a  dry  place, 


238 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


free   from  ammonia  or  any  gas  that  would 
injure  them. 

The  reading  of  Mr.  Kyder's  paper  was  de- 
ferred until  to-morrow. 

Mr.  Cramer  urged  his  objection  to  the 
appointing  of  a  committee  from  the  Asso- 
ciation to  award  the  prizes  offered  by  E.  & 
H.  T.  Anthony  &  Co.,  as  they  were  of  only 
personal  interest. 

Mr.  Cramer  made  a  motion  that  ten 
medals  be  given  by  the  Association,  at  the 
next  exhibition  for  prizes  and  offered  to  sub- 
scribe five  hundred  dollars  for  that  purpose. 

Mr.  Bachrach  then  moved  that  the  Asso- 
ciation adjourn  until  ten  o'clock  the  next 
morning.     Adjourned. 

Buffalo,  New  Yoek,  July  15,  1885. 

Second  Day. 

The  Convention  was  called  to  order  at  10 
a.m.  The  first  business  in  order  was  the 
Report  of  the  Committee  on  Nominations. 

Mr.  Ryder,  of  Cleveland,  read  the  Report, 
and  it  was  recommitted  to  him  to  be  given 
to  the  Association  to-morrow  morning. 

It  was  moved  to  reconsider  the  motion 
fixing  Thursday  afternoon  for  the  visit  of 
the  Association  to  Niagara  Falls,  and  it  was 
decided  to  go  this  afternoon. 

The  President  then  called  upon  Mr.  J.  F. 
Ryder  to  read  his  paper  : 

Hozv  to  See. 

Mr.  President,  Ladies,  and  Gentlemen  :  A  good 
deal  may  be  seen  by  an  observing  man  by  simply 
keeping  his  eyes  open.  It  is,  indeed,  a  popular 
fancy  that  that  is  the  only  necessary  effort  to 
accomplish  that  simple  feat. 

A  positive  man  might  be  ready  to  bet  five 
dollars  that  was  all  there  was  to  it,  while  others 
lean  to  the  belief  that  through  the  other  faculties 
enough  may  be  seen  to  satisfy  many  a  doubt 
shrouded  in  darkness.  A  man  may  see  things  he 
never  saw.  What  to  one  man  is  as  plain  as  the 
nose  on  his  face,  is  to  another  oblivio.  The  man 
who  fully  sees,  sees  with  his  nose,  with  his  ears, 
with  his  fingers.  With  another  man's  tongue,  as 
a  blind  man  sees  with  a  string  tied  to  a  little  dog, 
or  with  the  end  of  his  cane  punching  the  side- 
walk. 

Without  attempting,  however,  to  prove  second 
sight  or  double  sight,  let  us  consider  the  advan- 
tages of  seeing  carefully  and  intelligently. 

Seeing  carefully  or  carelessly  is  a  matter  of 
habit,  which  when  once  formed  is  as  easily  fol- 


lowed as  breathing.  The  habit  of  observation 
becomes  a  pleasure  and  a  study  not  to  be  put 
aside  and  taken  up  at  will,  but  the  following  out 
of  the  routine  of  life. 

As  considered  in  the  pursuit  of  our  profession, 
the  portrait  photographer  has  a  constant  study  in 
the  faces  he  meets  and  in  watching  the  play  of 
light  and  the  fall  of  shadows  over  them,  while 
the  landscapist  is  adapting  a  tree,  a  clump,  or  a 
rock,  for  a  foreground  and  suiting  it  to  a  middle 
distance.  I  speak  of  the  habit  as  in  my  own  ex- 
perience ;  although  I  have  not  made  a  business  of 
personally  handling  the  sitter  and  camera  for  the 
past  fifteen  years,  the  habit  formed  nearly  forty 
years  ago  has  been  pursued  with  as  active  dili- 
gence as  when  I  was  my  own  operator.  If  I 
fancied  I  had  claims  upon  the  democratic  party 
and  wanted  a  post-office,  and  was  interviewing 
President  Cleveland  with  a  view  to  that  end ; 
while  showing  him  what  heroic  work  I  had  done- 
in  his  interest,  and  how  evidently  he  is  occupying 
the  Chair  through  my  efforts,  I  should  at  the 
same  time  be  mentally  lighting  his  head  for 
a  portrait. 

The  visitor  in  my  house,  who  by  his  conversa- 
tion seeks  to  interest  me,  or  who  I  am  trying 
to  entertain  as  becomes  the  host,  is  turned  to 
account  as  a  study  upon  whom  I  am  at  work, 
discovering  the  most  favorable  point  of  view,  and 
the  best  direction  to  light  from :  I  do  not  feel 
I  am  taking  an  unfair  advantage  of  him.  I  am 
simply  studying  from  force  of  habit,  and  because 
I  cannot  help  it.  Whether  in  the  business  office, 
the  private  house,  the  church,  the  street  car, 
wherever  the  light  falls  from  a  given  point,  and 
particularly  if  favorable  to  developing  strong 
characteristic  points  of  a  head  or  face,  immedi- 
ately the  work  commences. 

The  unconscious  model  gives,  without  the  ask- 
ing, naturalness  and  ease  of  pose,  which  would  be 
sought  for  in  vain  with  a  camera  pointed  toward 
him.  Then  is  the  time  to  pursue  the  study,  to 
observe  carefully  each  point  of  vantage,  and 
to  store  up  the  knowledge  for  future  use.  Acci- 
dental findings  are  as  good  as  knowledge  sought 
for  at  a  cost  of  much  labor.  Good  teaching  in 
free  lessons  is  constantly  offering  itself.  Those 
who  choose  may  profit ;  it  is  only  a  question  of 
seeing  or  not  seeing. 

I  remember,  some  years  ago,  a  particularly  fine 
sunset  over  Lake  Erie,  as  I  was  homeward  bound 
for  the  east  on  the  Lake  Shore  Road.  The 
color  and  cloud  effect  was  gorgeous.  To  see  it, 
was  to  stir  one's  love  for  the  beautiful.  I  was 
quite  enraptured  ;  could  almost  fancy  I  was  look- 
ing into  another  world  ;  it  was  like  enchantment. 
The  impulse  to  have  some  one  sympathize  with. 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


239 


me  in  the  pleasure,  inclined  me  to  call  the  atten- 
tion of  a  man  in  the  seat  just  ahead  of  me  to  the 
grand  spectacle.  I  nudged  him  and  pointed  at  it. 
He  looked  out  of  the  window  and  then  inquir- 
ingly of  me,  showing  clearly  he  did  not  under- 
stand. I  then  said  the  beauty  of  the  sunset  what 
I  pointed  at.  He  looked  sort  of  bewildered, 
turned  to  me  again  and  said,  "Yes  ;  it's  red,  aint 
it?"  What  to  me  was  a  glory  and  a  joy,  was  to  that 
man  something  red.  Had  it  been  a  farmhouse  or 
a  barn  made  red  from  a  paint-pot,  it  would  have 
dilated  his  soul  quite  as  much.  From  the  habit  of 
observation  comes  the  study  of  comparison,  an 
easy  way  of  finding  a  fitness  of  things  as  consid- 
ered in  relation  to  each  other.  And  here  rises,  as 
though  to  answer  a  roll-call,  the  three  great 
powers  most  valuable  to  any  business  or  profes- 
sion— harmony,  order,  and  system. 

They  may  be  considered  captains  of  three 
potent  forces,  which  when  truly  observed  are 
invincible.  Applied  to  the  simple  needs  of  our 
business  as  aids  to  success,  their  value  is  as 
clearly  shown  as  to  the  railway  builders  of  our 
country. 

Considered  in  a  business  sense,  the  advantage 
of  tasteful  and  harmonious  fittings  and  furnishings 
of  the  photograph  establishment,  whether  upon  a 
scale  of  extravagance  or  the  quiet  simplicity  of 
modest  means  is  a  thing  never  to  be  overlooked. 

The  visitor  is  favorably  or  unfavorably  im- 
pressed on  entering  a  photograph  studio.  The 
person  of  no  taste  will  not  be  shocked  with 
pleasant  surroundings  ;  a  place  may  be  never  so 
attractive,  he  will  take  no  exceptions.  On  the 
other  hand,  the  aesthetic  or  finnicky  man  might 
feel  such  discomfort  at  the  violations  of  taste  and 
harmony,  frequently  found  in  the  reception  or 
business  rooms  of  photographers,  as  to  have  his 
confidence  shaken  in  the  skill  of  the  proprietor 
and  incline  him  to  look  further. 

It  may  not  be  found  in  your  bibles  that  a  five 
dollar  note  from  the  pocket  of  a  dude  is  as  good 
as  that  of  a  puddler  of  iron  or  a  tanner  of  hides, 
but  it  is  just  as  true  nevertheless.  A  well-scrubbed 
floor  is  better  than  dirty  carpet,  tidy  simplicity 
better  than  luxurious  shabbiness.  An  orderly 
establishment  is  attractive  and  interesting,  it  is  the 
keynote  to  the  proprietor's  character  and  his 
business  success. 

The  value  of  tidiness,  clean  rooms,  clean  hands, 
clean  dishes,  clean  character,  and  habits,  cannot 
be  overestimated. 

It  is  well  to  see  that  visitors  and  patrons  be 
received  with  politeness,  and  shown  respectful  at- 
tention ;  that  while  in  the  hands  of  the  operator, 
the  sitter  be  brushed  with  the  grain,  and  care  be 
taken  to  encourage  a   comfortable  cheerfulness. 


A  rude  or  surly  attendant  can  tear  down  faster 
than  the  proprietor  can  build  up. 

To  see  your  sitter's  good  and  bad  points  photo- 
graphically is  your  duty,  to  make  the  most  of  all 
the  favorable,  and  to  leave  untold  the  uninteresting 
ones,  is  what  you  owe  both  your  customers  and 
yourself.  Make  your  camera  see  the  same  as 
you  do. 

When  your  sitting  is  made,  the  plate  developed, 
and  brought  into  the  light  for  final  examination, 
when  you  stand  over  it,  as  judge  and  jury,  be 
honest,  don't  compromise  with  an  indifferent 
result ;  if  it  is  not  right,  it  is  wrong.  The  proper 
question  to  ask  yourself  is  :  Can  I  better  it  ?  If, 
yes,  do  it  at  once.  Your  conscience  and  good 
judgment  will  uphold  you  in  the  conviction  of 
having  done  your  full  duty.  Your  evident  satis- 
faction impresses  your  sitter,  and  has  much  to  do 
in  settling  any  doubts  he  might  entertain.  If  the 
photographer  would  inscribe  a  mental  motto 
which  should  read 

CAN    IT    BE    BETTERED  ? 

and  hang  it  conspicuously  upon  the  front  wall  of 
his  mind,  where  it  should  be  in  full  view  and 
religiously  consulted  and  followed  as  the  text  of 
his  daily  work,  it  would  stand  as  a  true  guide- 
board  upon  the  crossroads  of  success  or  failure  in 
his  business. 

If  there  be  a  better  talent  than  to  see  well,  it  is 
to  perform  fairly  and  fully  all  that  can  be  seen 
which  is  profitable  to  put  into  a  man's  work. 

And  now,  my  brother  photographers,  assuming 
that  you  have  seen  as  I  have  tried  to  show,  may 
I  ask  you  to  look  with  me  at  the  present  status  of 
our  art  and  its  possible  future. 

We  stand  to-day  forty-five  years  old.  From  a 
bluish  uncertainty  in  a  little  box-like  case  which 
could  be  seen  with  difficulty  after  much  twisting, 
then  as  a  wonder  in  1840,  we  have  only  to  look  at 
the  exhibition  in  the  hall  below  to  note  the  won- 
derful progress  made  in  forty-five  years.  In  these 
years,  hundreds  of  thousands  of  people  have 
found  employment  in  departments  of  work  tribu- 
tary to  the  requirements  of  and  in  the  practice  of 
photography.  Millions  of  money  yearly  flow 
through  the  channels  of  its  traffic.  Scarcely  a 
home  in  the  civilized  world,  from  the  palace  to  the 
hut,  but  in  which  will  be  found  in  costly  or  modest 
form  the  products  of  the  camera. 

The  images  in  shadowed  form  of  the  "loved 
and  lost  "  are  treasured  beyond  comparison. 

Photography  has  contributed  to  the  interests, 
the  tastes  and  happiness  of  mankind ;  it  is  entitled 
to  place  and  consideration. 

Many  of  us  have  travelled  a  long  road  with  it, 
followed  it  over  the  rough  and  smooth  years ;  in  a 


240 


THE    PHILADELPHIA    PHOTOGRAPHER. 


manner  have  grown  up  with  it.  Now  in  the 
strength  and  glory  of  its  prime  we  have  it* 
What  shall  we  do  with  it?  It  is  something  to  be 
cherished  and  protected,  to  be  kept  respectable 
to  be  made  more  perfect,  to  toil  for  and  be  proud 
of — or  shall  it  be  prostituted  and  destroyed 
through  the  careless  indifference  which  comes  of 
low  prices. 

The  future  of  photography  is  in  peril.  It  is 
threatened  by  the  folly  of  smart  Alicks  and  Cheap 
Johns.  Shall  the  men  who  have  given  the  best 
years  of  their  lives  to  the  study  and  honorable, 
practice  of  the  art,  whose  aim  has  been  to  secure 
early  all  valuable  improvements,  who  have  ex- 
pended money  by  thousands,  and  taken  honest 
pride  in  producing  masterly  work,  shall  these 
men  be  controlled  and  degraded  by  those  who 
have  no  pride  or  interest  in  the  art  beyond  getting 
money  by  flooding  their  cities  with  inferior  and 
carelessly  made  photographs  ?  Shall  honest  en- 
deavor and  true  merit  yield  to  cheek  and  piracy  ? 
Gentlemen,  to  this  you  must  find  your  own 
answer. 

The  paper  of  Mr.  Eyder  was  received 
with  great  applause,  and  a  vote  of  thanks 
given  him  for  the  same. 

The  President:  The  next  subject  will  be 
"  The  Best  Method  of  Lighting  the  Dark- 
room." Discussion.  Any  member  having 
anything  to  say  on  this  subject  we  will  be 
glad  to  hear  from.  I  think  this  will  be  the 
last  thing  we  can  attend  to  this  morning, 
as  we  ought  to  have  a  short  session,  in  order 
to  give  us  time  to  get  a  lunch  before  we 
start  for  the  Falls. 

Mr.  Inglis :  I  think  the  subject  of  light- 
ing the  dark-room  is  one  of  vital  importance 
to  photographers.  The  discussion  we  had 
yesterday,  I  am  very  glad  to  say,  pleased 
me  very  much.  I  think  that  this  subject 
needs  discussion,  as  it  is  an  important  one. 
I  find  in  many  instances  that  men  complain 
about  the  light  used  in  the  dark-room — the 
ruby  light — and  say,  some  of  them,  they 
can  scarcely  see  the  plates  they  are  develop- 
ing. This  is  on  account  of  the  fear  they 
have  that  the  light  will  fog  the  plate.  I 
think  that  this  fear  is  wholly  unnecessary. 
As  for  myself,  I  have  a  great  amount  of 
light  in  my  dark-room,  but  take  care  to  be 
far  enough  away  so  that  the  light  will  not 
have  any  actinic  power  upon  the  plate.  I 
don't  know  whether  it   is   material — ruby 


glass  or  paper,  or  green  or  yellow  be  used — 
I  think  the  result  or  the  effects  amount  to 
the  same  thing,  provided  the  plate  is  not 
too  near  the  actinic  power  of  it.  Use  plenty 
of  light  in  the  dark-room,  but  stay  very  far 
away  from  its  actinic  power. 

Mr.  Clifford  :  Mr.  President,  having  vis- 
ited your  dark-room  when  I  was  last  in  your 
city,  I  think  that  you  should  be  invited  to 
describe  the  lighting  of  your  dark-room. 

The  President :  I  have  one  window  20  x  40, 
and  six  sheets  of  orange  tissue  paper  forms 
the  ruby  light,  and  I  have  no  difficulty  with 
fogging.  This  is  about  the  way  I  light  my 
dark-room.  The  gas  is  outside,  and  the  key 
inside,  so  I  have  no  difficulty  in  keeping 
the  room  cool ;  and  I  have  it  ventilated  all 
around  with  about  fifteen  or  eighteen  little 
4-inch  square  holes  in  the  lower  part  of  the 
same,  and  above  them  little  elbows,  and  in 
that  way  I  prevent  the  penetration  of  light, 
and  I  get  ventilation  without  light.  In 
that  respect  my  dark-room  is  two  degrees 
cooler  than  any  other  room  in  the  house  in 
the  summer-time.  I  first  tried  one  sheet  of 
orange  tissue  paper  and  exposed  the  plate 
to  it,  and  found  it  to  fog ;  then  I  put  on 
two,  and  the  fog  was  less,  and  so  on  until  I 
put  on  six  sheets,  and  then  I  enclosed  those 
six  sheets  between  two  glasses  to  prevent 
any  spattering  of  the  developer,  and  I  found 
no  trouble  with  fog  at  all.  I  hold  my  plate 
right  up  to  it  close,  put  on  the  gas  full  if  I 
want  to  examine  it,  and  I  have  no  trouble. 
There  was  one  thing  I  forgot  to  mention. 
My  gas  is  on  the  outside  of  the  dark-room 
and  faces  the  skylight ;  oftentimes  there  is 
a  screen  in  front,  and  sometimes  I  have  the 
daylight  and  the  gaslight  mixed.  I  have  a 
sheet-iron  box  around  the  whole  thing,  so  I 
have  only  the  direct  effect  of  the  gaslight 
without  anything  else. 

Mr.  Brown :  I  have  been  sufficiently  in- 
terested in  this  subject  to  make  inquiries 
about  it.  I  have  found  that  using  the  ruby 
light  has  had  an  injurious  effect  upon  my 
eyes,  and  the  thought  has  occurred  to  me 
whether  or  not  we  were  not  always  confused 
upon  the  subject  by  what  we  find  printed 
upon  our  boxes.  It  says,  "Open  by  ruby 
light,"  or  something  of  that  kind.  What  I 
wish  to  have  decided  is,  are  we  safe  to  try 
anything  but  ruby  light  ? 


THE  PHILADELPHIA  PHOTOGEAPHEE. 


241 


Mr.  Cramer :  The  remarks  upon  ruby 
light  and  the  directions  upon  our  boxes  were 
put  there  at  the  time  of  the  first  introduc- 
tion of  the  dry  plate,  and  when  there  was 
nothing  else  to  use  but  the  ruby  light;  but 
any  light  which  is  equally  nonactinic 
will  do.  There  is  no  color  perfectly  non- 
actinic  ;  even  ruby  light  will  affect  the  plate 
if  it  is  exposed  to  it  long  enough.  We  have 
tried  that  in  many  instances,  and  found 
that  even  our  work  lanterns,  which  are 
covered  with  ruby  glass,  have  a  slight 
effect.  Orange  glass  will  affect  the  plates 
when  they  are  exposed  to  the  lanterns  for 
from  two  to  five  minutes.  I  would  recom- 
mend the  use  of  the  ruby  glass  and  orange 
glass  combined,  and  then  adapt  it  to  the 
circumstances.  This  may  answer  the  pur- 
pose if  the  light  faces  into  the  operating- 
room  ;  it  might  not  if  the  sun  shines  upon 
it.  So  you  will  have  to  use  your  own  judg- 
ment. The  idea  is  that  the  light  should  be 
sufficient,  so  as  to  allow  you  to  watch  the 
progress  of  the  developing,  but  not  so  strong 
as  to  affect  or  fog  the  plate.  I  find  a  very 
good  way,  provided  the  light  is  modified  to 
that  extent,  to  take  the  plate  which  is  in  the 
developer,  after  the  developer  is  poured  on. 
Of  course,  you  have  to  bring  it  near  the 
light  to  see  what  you  are  doing,  and  then  to 
raise  it  up  above  the  level  of  the  light,  and 
move  the  dish,  and  bring  it  back  to  the 
light  and  watch  it,  taking  care  not  to  hold 
it  to  the  light  all  the  time.  I  have  seen  a 
green  light  in  use  by  Garretson,  and  he 
seemed  to  be  greatly  in  favor  of  the  green 
light,  but  I  have  heard  no  more  of  it.  It 
seems  to  me  it  has  no  advantages. 

Mr.  Bellsmith  :  There  is  one  branch  of 
this  subject  which  seems  to  be  lost  sight  of, 
and  that  is  the  effect  upon  the  eyesight  of 
the  light  used  in  the  dark-room.  It  is  a 
prevailing  opinion  among  a  good  many  of 
those  who  have  thought  upon  this  subject 
that  the  ruby  light  was  extremely  injurious 
to  the  eyesight,  while  the  orange  and  green 
are  not  so  much  so.  My  experience  has 
been  that  the  ruby  light  has  proven  quite 
injurious  to  my  eyesight.  I  have  been  using 
ruby  light  for  three  or  four  years.  When  I 
first  commenced  to  use  it  I  had  remarkably 
fine  eyesight,  but  my  eyes  are  certainly  fail- 
ing.    I  have  talked  with  a  great  many  on 


this  subject,  and  they  are  of  the  same  opinion. 
Talking  with  Mr.  Seed  a  few  months  ago  in 
St.  Louis,  he  said  that  that  had  been  exactly 
his  experience,  and  that  his  eyesight  has 
grown  so  bad  that  he  had  to  use  the  strongest 
glasses,  and  he  advocated  the  use  of  orange 
and  green.  He  says  that  since  he  has 
adopted  it  he  has  felt  an  agreeable  improve- 
ment in  regard  to  his  eyesight.  This  is  an 
important  matter  to  all  those  who  work  in 
the  dark-room.  I  believe,  from  the  little 
experience  I  have  had,  that  the  color  which 
I  have  recently  adopted  is  a  great  improve- 
ment over  the  orange  alone  or  the  ruby 
light. 

The  President :  I  have  some  foreign  letters 
here  concerning  the  foreign  exhibits  but 
will  read  them  some  other  time,  as  our  time 
is  now  so  very  short. 

Mr.  Clifford :  It  occurs  to  me  that  when 
we  go  to  Niagara  Falls  we  ought  to  have  a 
place  for  meeting,  or  we  will  not  be  able  to 
find  each  other. 

The  President :  I  think  we  will  all  have 
to  go  to  Goat  Island. 

Mr.  Armstrong  :  I  will  read  the  report  of 
the  award  of  the  prizes  in  the  Stanley  dry 
plate  matter. 

The  Committee  appointed  to  award  the 
prizes  for  the  best  display  of  photographs 
made  on  the  Stanley  dry  plates,  gives  the 
first  prize  for  pictures  larger  than  14  x  17 
size,  consisting  of  a  "climax"  portrait 
camera  28  x  24,  with  all  the  late  improve- 
ments, to  H.  McMichael,  of  Buffalo,  N.  Y. 
The  second  prize  for  cabinet  size  A — 5  x  8 
"  Fairy  "  camera — to  J.  M.  Brainard,  Borne, 
N.  Y.     Signed,  W.  H.  Potter, 

W.  A.  Armstrong. 

Adjourned,  to  meet  at  10  a.  m.  Thursday, 
July  16,  1885. 

Buffalo,  N.  Y.,  July  16,  1S85. 

Third  Day. — Morning  Session. 
The  Convention  was  called  to  order  at  10 

A.  M. 

The  President :    The  first  thing  in  order 
will  be  the  paper  by  Mr.  G.  L.  Hurd. 
Mr.  Hurd  read  his  paper  as  follows  : 

Photographic  Portraits  versus   Camera  Pictures. 

Saxe  has  said : 

A  little  dulness  may  afford  relief 
On  some  occasions,  if  it's  very  brief. 


10 


242 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


And  I  suppose  your  Committee  had  this  in 
mind  when  they  did  me  the  honor  to  ask  that  I 
should  read  a  paper  before  this  Convention. 
These  hasty  thoughts  may  be  neither  entertain- 
ing nor  instructive,  but  I  shall  ask  you  for  your 
ears  for  a  few  minutes,  while  I  talk  about  pict- 
ures that  we  make. 

We  have  become  so  familiar  with  the  results 
of  photography  as  perhaps  to  have  lost  in  some 
degree  a  sense  of  its  importance,  and  may  fail  to 
realize  the  value  of  the  discovery  of  the  prin- 
ciples which  underlie  it.  I  thought  to-day  in 
looking  at  the  magnificent  display  of  work  under 
this  roof,  how  short  was  the  step  back  to  the 
time  when  all  such  pictures  were  unknown; 
forty-six  years  will  cover  the  period  from  the 
first  crude  daguerrotype  to  the  present  hour. 
Even  the  first  experiments  of  which  we  have 
any  knowledge,  looking  in  this  direction,  are 
embraced  within  the  present  century.  It  was 
in  1802,  as  you  remember,  that  the  Journal  of 
the  Royal  Institution  of  London  published  an 
account  of  the  attempts  of  Wedgewood  and  Sir 
Humphrey  Davy  to  fix  the  image  which  they 
had  succeeded  in  obtaining  on  paper;  but  fail- 
ing to  do  so,  the  subject  seems  to  have  been 
dropped  for  some  years.  In  1839,  we  find 
Daguerre  with  the  problem  solved,  and  his  dis- 
covery patented.  The  French  Government 
promptly  negotiated  for  the  secret,  and  Daguerre 
retired  to  a  Chateau  nine  miles  from  Paris  on  a 
pension  of  $2000  a  year.  It  was  about  this  time 
that  he  sold  the  right  to  England  for  a  large 
sum,  and  the  process  of  making  pictures  with 
chemicals  and  light  was  now  fairly  launched 
upon  the  world.  I  wish  the  first  daguerrotype 
ever  made  could  be  placed  in  the  Exhibition 
Hall  here  that  we  might  fully  realize  the  point 
whence  we  started.  We  need  not  trace  the  new- 
born art  through  the  days  when  the  silvered 
plate  received  the  impression,  nor  later  when  a 
variation  of  the  principle  brought  in  the  collo- 
dion process,  followed  by  the  gelatine  plate  of 
to-day;  step  by  step  it  has  held  its  way,  year 
by  year  the  manifold  improvements  of  working 
have  been  going  on  ;  the  small  number  of  the 
disciples  of  Daguerre  have  swelled  to  a  count- 
less host  (not  to  mention  the  amateurs)  in  the 
last  forty  years,  and  the  air  is  darkened  with 
photographic  productions.  I  am  tracing  its  pro- 
gress solely  in  relation  to  portraiture,  without 
reference  to  its  numerous  and  important  appli- 
cations in  other  directions.  Think  of  it  for  a 
moment ;  the  desire,  which  is  as  old  as  the  race, 
to  behold  the  lineaments  of  those  we  love  in 
their  absence,  or  when  that  absence  comes  which 
shuts  them  forever  from  our  sight,  has  had  but 


the  most  meagre  gratification  until  within  the 
memory  of  those  now  living.  True,  the  painters 
in  each  generation  have  left  upon  canvas  with 
more  or  less  fidelity  a  few  portraits;  there  have 
been  miniatures  on  ivory  and  other  substances, 
and  silhouettes,  and  in  passing  let  me  say  that 
the  silhouette  has  a  very  pathetic  significance, 
the  almost  universal  presence  in  the  humble 
homes  of  the  English-speaking  race  of  this,  the 
crudest  form  of  portraiture  known  to  civilized 
man,  voiced  the  cry  of  the  multitude  for  a  sem- 
blance of  their  friends.  We  designate  the  period 
previous  to  the  Christian  era  by  the  abbrevia- 
tion B.  C,  pardon  me  if  I  seem  to  parody  this 
by  the  suggestion  that  B.  D.  should  stand  for 
before  Daguerre.  By  this  little  retrospective 
glance  we  are  reminded  that  before  Daguerre  a 
very  important  (actor  in  the  humanizing  of  man- 
kind was  almost  wholly  wanting.  The  sun 
picture  not  only  placed  portraiture  within  the 
means  of  the  masses,  but  gave  results  which  be- 
fore had  been  but  dimly  hinted  at  by  the  best 
artists.  I  allude  to  the  accuracy  and  delicacy 
of  expression.  However  much  we  may  admire 
the  canvases  of  our  best  portrait  painters,  as 
works  of  art,  they  never  successfully  rival  the 
productions  of  our  best  photographers,  in  de- 
picting the  emotions  conveyed  by  the  face  which 
has  been  their  subject,  nor  is  it  possible,  for  the 
brush  paints  clumsily  in  comparison  with  sun- 
light. When  the  boy  whistled  in  school,  he  ex- 
cused himself  by  saying  that  it  whistled  itself. 
Photographic  portraits  produce  themselves,  in 
one  sense,  as  he  who  steps  before  a  mirror  is 
duplicated  with  the  utmost  exactness  as  he  is  at 
the  moment.  This  fact  has  led  to  a  great  mis- 
apprehension on  the  part  of  the  public.  It  is 
thought  that  photography  is  simply  chemical 
and  mechanical — that  it  goes  with  a  crank  like 
a  grindstone — that  any  man  who  owns  a  camera 
and  possesses  the  secret  of  dark-room  manipu'a- 
tions  is  a  photographic  artist.  A  landscape 
painter  said  to  me,  "  Photographers  have  the 
same  instruments  and  use  the  same  chemicals, 
do  they  not — what  then  prevents  one  man  from 
making  as  good  pictures  as  another.  I  see  that 
they  don't,  but  I  fail  to  understand  why."  I 
replied,  your  knights  of  the  brush  all  use  the 
same  canvas,  and  brushes,  and  paints,  why  does 
one  man's  work  have  greater  value  than 
another's  ?  "  That  answers  me,"  he  said,  "  but  it 
never  occurred  to  me  before  that  the  photogra- 
pher had  much  to  do  with  it."  This  prejudice 
is  very  deeply  rooted  in  the  minds  of  the  com- 
munity. If  you  make  them  a  better  picture 
than  they  have  had  before,  they  consider  it  a 
happy  hit,  that  the  light  was  unusually  favor- 


THE    PHILADELPHIA    PHOTOGRAPHER. 


243 


able,  or  the  Gods  smiled  on  the  effort.  Some 
very  astute  people  have  come  to  consider  that 
brilliancy  of  chemical  effect,  fineness  of  retouch- 
ing, and  a  high  burnish  are  fairly  within  the 
skill,  and  denote  the  excellence  of  the  photog- 
rapher. The  great  essentials  of  portraiture — ■ 
the  study  of  the  subject — the  lighting,  posing, 
the  subordination  of  subordinate  things,  and 
general  harmony  of  the  whole  are  matters  that 
not  one  in  a  thousand  reflect  for  a  moment,  be- 
long at  all  to  the  production  of  photographs; 
and  yet  there  are  some  now  listening  to  me  who 
give  this  value  to  their  sittings  with  little  re- 
ward, I  am  afraid  either  of  appreciation  or 
money. 

It  is  told  of  a  man  who  had  his  portrait 
painted  by  an  artist  of  distinction,  that  being 
no  judge  of  art  himself,  he  bethought  him  of  a 
friend — a  house  painter — who  surely  ought  to 
know  if  anybody.  The  critic  scanned  the  por- 
trait, and  finally  said  :  "  So  you  paid  that  man 
$150,  did  you  ?  I  assure  you  there  isn't  20  shil- 
lings worth  of  paint  on  the  whole  canvas."' 
This  is  the  whole  thing  in  a  nutshell;  are  we 
selling  the  stock  that  enters  into  our  productions, 
or  is  it  our  skill  that  we  are  offering  the  public  ? 
In  the  craze  of  cheap  picture-making  that  is 
upon  us  it  would  seem  to  be  the  former.  I  do 
not  propose  to  discuss  the  matter  of  prices,  ex- 
cept in  such  wise  as  is  inseparable  from  what 
I  am  trying  to  say.  It  seems  to  me  that  pho- 
tography is  in  a  transition  state;  we  have 
achieved  much,  how  much,  the  visitor  of  this 
Exhibition  can  judge.  But  there  are  causes 
operating  to  degrade  our  art,  "that  make  the 
judicious  grieve."  Perhaps  I  can  best  illustrate 
this  by  stating  what  seems  to  me  to  be  the  dif- 
ference between  camera  pictures  and  photo_ 
graphic  portraits,  camera  pictures  have  a  high 
popularity  because  they  are  cheap.  They  are 
made  generally  by  men  who  have  a  level  head 
for  business,  men  who  have  organized  a  factory, 
if  I  may  be  allowed  so  to  express  it,  for  the  pro- 
duction of  photographs.  The  requirements  of 
the  public  are  carefully  kept  in  mind.  Brilliant 
chemical  effects  are  not  hard  to  attain.  Retouch- 
ing, the  chief  use  of  which  is,  as  generally  em- 
ployed, to  make  people's  pictures  look  less  like 
them,  is  done  (or  overdone)  with  that  free  and 
easy  defiance  of  the  modelling  of  the  face  which 
makes  the  heads  of  old  and  young  suggest  noth- 
ing so  much  as  a  billiard  ball;  and  thereby  the 
public  is  pleased  and  flattered,  the  picture- 
maker  wins  the  good  opinion  of  old  ladies  of 
both  sexes,  and  the  shekels  flow  into  the  treasury. 
An  establishment  of  this  kind,  well  organized 
for  business,    and    giving    its   sitters    a    set  of 


stereotyped  positions  can  easily  handle  from  30 
to  100  people  in  a  day. 

To  make  photographic  portraits  the  conditions 
are  essentially  different.  The  operator  should 
be  an  artist — a  man  of  culture  and  refinement, 
acquainted  with  art  principles,  and  all  the  re- 
sources of  photography.  He  should  have  that 
subtle  feeling  for  portrait  effects  which  every 
man  is  not  born  with.  Every  sitter  should  be  a 
study,  and  the  sitting  accomplished  in  the  most 
leisurely  way.  If  your  appointment  is  with  a 
stranger,  seek  to  establish  a  little  acquaintance, 
for  until  the  restraint  that  exists  between  stran- 
gers in  the  first  moments  of  intercourse  has 
disappeared,  the  subject  will  not  be  at  his  best 
for  a  picture.  Suggestions  as  to  attire  should  be 
freely  offered  if  anything  is  worn  that  will  mar 
the  effect.  There  are  with  most  people  many 
little  things  that  mark  their  individuality  be- 
side the  lines  of  the  face ;  the  postures  they 
assume,  the  way  of  holding  the  head,  etc.,  all 
these  things  should  be  noted  before  you  attempt 
to  secure  a  pose.  A  half  dozen  plates  are  none 
too  many  to  use,  and  two  hours  none  too  much 
time  to  devote  to  your  client.  You  are  thus  en- 
abled to  employ  various  lightings,  try  different 
views  of  the  face  and  different  attitudes,  taking 
your  subject  in  repose  and  action,  and  thus 
assure  yourself  that  you  are  getting  the  most 
favorable  result  possible.  Compare  the  proofs 
from  your  plates,  and  if  you  find  that  anything 
more  to  your  satisfaction  can  be  obtained  secure 
another  sitting.  It  is  only  when  you  are  satis- 
fied yourself  that  the  sitter  should  be  consulted, 
and  only  proofs  shown  from  such  plates  as  you 
are  willing  to  work  from.  The  further  operation 
of  retouching  the  negative  and  printing  from  it 
must  be  carefully  supervised  by  yourself  or  all 
your  pains  and  skill  may  come  to  naught.  The 
soft,  beautiful  effect  that  a  well-handled  gelatine 
plate  will  afford  leaves  but  little  necessary  work- 
ing of  the  negative  in  a  majority  of  cases;  and 
that,  I  need  not  say,  is  the  work  for  an  artist. 
No  cause,  it  seems  to  me,  contributes  so  much 
to  make  abortions  of  photographs  as  the  re- 
touching we  usually  see.  A  distinguished  por- 
trait painter  lately  said  that  the  photographs  of 
to-day  were  worthless  as  aids  to  painting  por- 
traits, because  of  retouching. 

It  may  be  said  that  no  more  than  three  or 
four  sittings  could  be  made  in  a  day  if  such 
methods  as  I  have  suggested  were  adopted. 
That  would  be  quite  enough.  Make  a  charge 
for  your  services  that  would  be  made  by  any 
professional  man,  in  good  repute,  for  the  same 
outlay  of  time.  The  ability  and  training  re- 
quired to  make  one  competent  for  such  work  is 


244 


THE    PHILADELPHIA    PHOTOGRAPHER. 


not  a  whit  less  than  that  required  for  any  pro- 
fessional pursuit.  We  pay  a  lawyer  $50  or  $500, 
according  to  the  importance  of  the  case,  for  an 
opinion.  We  know  that  we  are  paying  for  skill. 
For  special  attainments.  The  public  will  pay 
for  the  exercise  of  great  talents  and  skill  in  the 
landscape  painter  and  the  portrait  painter.  The 
trouble  is  photography  has  never  been  recog- 
nized as  an  art.  I  am  afraid  we  must  admit 
that  it  has  not  risen  to  that  dignity  of  art,  as  it 
is  generally  practised,  that  might  be  wished,  nor 
do  I  believe  that  every  man  engaged  in  it  could 
practise  it,  in  the  manner  described  here,  suc- 
cessfully; or  that  every  hamlet  in  the  land  offers 
a  field  for  such  work.  But  I  believe  there  are  a 
dozen  cities  between  the  two  great  seas  that 
wash  us  on  either  side,  where  an  artist  in  pho- 
tography would  win  a  position  in  a  few  months. 
It  seems  to  me  that  it  must  be  some  such  de- 
parture as  this  that  will  rescue  photography 
from  the  low  estate  in  which  it  is  hastening, 
financially  and  otherwise,  and  I  venture  the 
prophecy  that  in  the  future,  perhaps  not  far 
distant  either,  there  will  be  photographic  por- 
traits hanging  upon  the  walls  of  affluent  homes, 
where  taste  and  culture  preside,  which  will  not 
be  spoken  of  as  "  only  a  photograph,"  but  will 
be  prized  for  their  art  value,  as  well  as  for  their 
qualities  as  likenesses,  and  the  artist  honored 
and  paid  for  his  genius  and  skill.     Applause. 

A  vote  of  thanks  was  accorded  Mr.  Hurd 
for  his  capital  paper. 

The  President :  The  next  business  in  order 
will  be  the  report  of  the  Committee  on 
Nominations. 

Mr.  J.  P.  Eyder,  Chairman,  then  read  the 
report  of  the  Committee  on  Nominations, 
which  was  received  and  laid  over  for  action 
at  a  future  session. 

The  President:  I  have  just  received  the 
following  telegraphic  dispatch  : 

Denver,  Col  ,  July  15,  1885. 
J.  Landy,  President  Photographers  Asso- 
ciation, Armory  Hall,  Buffalo.     May  your 
Convention  be  the  largest  and  most  success- 
ful ever  held.  J.  E.  Beebe. 

Also  another  dispatch  from  Clarkesville, 
Tennessee,  dated  July  15,  1885.  To  the 
President  of  the  Photographic  Association, 
State  Arsenal  Building,  Buffalo,  N.  T. 
Photographers  in  Convention  assembled, 
greeting,  although  I  am  not  there  my  heart 
is  with  you,  good  cheer  to  all. 

J.  T.  Hendricks. 


Mr.  J.  Traill  Taylor  then  read  a  paper 
entitled  "  Scientific  Development,"  by  Col. 
Stuart  Wortley,  as  follows  : 

Scientific  Development. 

My  friend,  Mr.  J.  Traill  Taylor,  having  asked 
me  to  write  a  short  article  to  be  read  at  the  Pho- 
tographic Convention,  I  gladly  do  so ;  but  I 
have  nothing  that  is  new,  and,  perhaps,  nothing 
that  may  be  interesting  to  say. 

It  will  be  remembered  how  great  was  the  va- 
riety of  developers  introduced  from  time  to  time 
in  the  old  wet  process,  but  is  nothing  to  the 
proposals  that  have  been  made  as  modifications 
of  the  dry-plate  development  by  the  great  army 
of  photographic  "  faddists." 

I  have  before  stated  in  print,  and  I  repeat  it 
now  again,  that  the  manufacture  of  a  sensitive 
dry  gelatine  plate  is  a  matter  of  absolute  cer- 
tainty, but  that  where  talent  and  progress  are 
shown  is  in  working  out  a  system  of  develop- 
ment modified  at  will  for  every  class  of  negative 
and  for  every  different  kind  of  subject. 

I  have  carefully  investigated  all  developers 
that  have  been  proposed  in  which  there  were 
reasonable  grounds  for  hoping  that  an  advance 
was  made,  but  I  am  bound  to  say  that  I  have 
never  found  any  developer  for  any  round  work 
equal  to  that  composed  of  ammonia  and  pyro- 
gallic  acid. 

I  have  found  a  prejudice  existing  in  certain 
quarters  against  this  developer,  from  the  fact 
that  many  of  the  formulas  give  ammonia  and 
bromide  of  potassium  ready  mixed  together  as 
one  of  the  solutions. 

Now,  this  method  of  proceeding  at  once  takes 
away  the  whole  value  of  this  method  of  develop- 
ment; it  is  absolutely  essential  that  this  pyro- 
gallic acid,  the  ammonia,  and  the  bromide  of 
potassium  should  be  in  three  separate  solutions, 
and  the  developer  thus  capable  of  being  varied 
at  will  according  to  the  negative  that  has  to  be 
formed  through  its  influence. 

My  own  method  of  using  these  solutions  is  to 
have  a  standard  solution  of  the  strongest  am- 
monia, 1  ounce  to  9  ounces  of  water,  every  10 
minims  of  which  will  thus  contain  1  minim  of 
strong  ammonia. 

The  solution  of  bromide  of  potassium  is  15 
grains  to  the  ounce  of  water,  while  the  pyro- 
gallic  solution  contains  3  grains  of  pyrogallic 
acid  to  the  ounce  of  water. 

But  now  comes  one  modification  on  which  I 
lay  the  greatest  stress,  and  that  is  the  addition 
of  sulphite  of  soda  to  the  pyrogallic  solution. 

The  sulphite  of  soda  solution  is  thus  made  : 
Take  1  ounce  of  pure  sulphite  of  soda  and  dis- 


THE   PHILADELPHIA    PHOTOGEAPHEE. 


245 


solve  it  in  12  ounces  of  water  ;  then  by  the  ad- 
dition of  citric  acid  remove  the  alkaline  reaction 
from  the  soda  solution  by  adding  the  citric  acid, 
little  by  little,  till  blue  litmus  paper  is  turned 
faintly  red ;  this  is  a  standard  solution,  and  can 
be  kept  ready  for  use  at  any  time. 

To  make  the  pyrogallic  solution  one  precau- 
tion has  to  be  observed,  and  it  should  be  made  as 
follows  :  Weigh  out  240  grains  of  pyrogallic  acid 
and  dissolve  it  in  4  ounces  of  the  above  sulphite 
of  soda  solution,  and  then  add  water  until  you 
have  30  fluidounces  of  solution.  Be  sure  to  mix 
the  pyrogallic  acid  with  the  sulphite  before 
adding  the  water. 

Now,  here  you  have  a  pyrogallic  solution 
which  will  keep  any  reasonable  time  in  working 
order,  and  your  three  solutions  of  ammonia, 
bromide,  and  pyrogallic  acid  are  thus  always 
ready  for  use  at  a  moment's  notice. 

There  is  one  addition  that  may  with  advan- 
tage be  made,  and  that  is  a  drop  or  two  of  gly- 
cocoll  to  the  finished  developer,  made  according 
to  a  formula  which  I  published  years  ago.  Its 
tendency  is  to  give  a  richer  tone  to  the  nega- 
tive and  to  improve  its  printing  qualities. 

In  my  own  practice  with  instantaneous  pict- 
ures, I  find  it  to  be  of  the  greatest  use  to  give 
the  plate  a  preliminary  wash  with  water  con- 
taining a  minim  of  ammonia  to  every  two  ounces 
of  water.  It  certainly  increases  the  sensitive- 
ness of  the  plate  to  the  subsequent  development, 
and  since  the  time  when  I  published  this  pro- 
posed modification  I  have  had  ample  testimony 
given  me  as  to  its  great  valne. 

With  standard  developing  solutions  such  as  I 
have  proposed,  any  class  of  picture  can  with 
certainty  be  made,  and  I  need  hardly  tell  those 
who  understand  dry-plate  photography  that  it  is 
impossible  to  develop  all  different  classes  of  sub- 
jects with  the  same  developer  and  really  to  do 
justice  to  the  development  of  each  plate. 

I  may  mention,  in  conclusion,  that  a  good 
standard  developer  for  an  average  negative, 
composed  of  the  above  solutions,  would  be  of 
the  pyrogallic  acid  solutions,  1  and  1-4  ounce; 
of  the  bromide  of  potassium  solution,  30  minims; 
and  of  the  ammonia  solution,  25  minims. 

From  this,  which  I  may  call  a  standard  de- 
veloper for  an  average  negative,  all  modifica- 
tions should  start,  bearing  in  mind  that  the 
pyrogallic  acid  has  the  greatest  influence  in  in- 
creasing density;  and  that,  when  you  have  to 
photograph  white  dresses  or  horses,  or  other 
brilliantly  lighted  objects,  the  proportion  of 
pyrogallic  acid  must  be  considerably  reduced  ; 
an!  it  should  be  remembered  that,  if  prolonged 
forcing  of  an  instantaneously  exposed  negative 


should  be  required,  it  is  wise,  after  the  first  one 
or  two  additions,  in  order  to  keep  the  shadows 
clear;  and  if  the  negative,  in  coming  up,  seems 
to  be  weaker  than  it  ought  to  be,  some  of  the 
pyrogallic  acid  should  also  be  added. 

I  give  these  hints,  as  I  have  generally  found 
that  amateur  friends  who  have  consulted  me  as 
to  difficulties,  have  continued  to  add  ammonia, 
with  the  object  of  forcing  a  slow  development, 
and  have  omitted  to  remember  that  pyrogallic 
acid  and  bromide  are  most  important  factors  in 
scientific  development. 

July  2. 

Mr  Dear  Taylor:  Will  you  please  add  this 
paragraph  ?  "  It  must  always  be  borne  in  mind 
that  a  photograph  is  impressed  upon  a  plate  by 
the  action  of  light,  and  is  then  developed.  Many 
photographs  are  spoiled  from  insufficient  ex- 
posure for  the  following  reasons  :  If  the  light 
has  not  impressed  the  image  on  the  plate,  no 
modification  of  the  developer  can  bring  out  an 
image;  but,  if  too  much  light  has  acted  on  the 
plate,  then  a  modification  of  the  developer  can 
control  the  surplus  light,  and  thus  produce  a 
good  negative. 

Therefore,  bear  in  mind  always,  that  it  is 
better  to  over-expose  than  under-expose  a  nega- 
tive. In  very  short  exposure  the  preliminary 
wash  of  ammonia  in  water  may  help  ;  but  even 
that  is  powerless  if  the  light  has  not  acted 
enough.  Yours,  truly, 

H.  Stuart  Wortley. 

A  vote  of  thanks  was  tendered  to  Col. 
Stuart  Wortley  for  his  very  able  paper. 

The  President :  The  next  business  in  order 
will  be  taking  the  ballot  for  the  best  collec- 
tion of  photographs  in  the  exhibition.  I 
appoint  H.  S.  Bellsmith  and  D.  A.  Clifford 
as  tellers. 

A  ballot  was  then  had,  and  the  tellers  re- 
ported as  follows : 

Mr.  Eyder,  93;  Mr.  Gehrig,  11;  W.  H. 
Potter,  6;  H.  McMichael,  4;  Mr.  Cramer, 
3 ;  Mr.  Falk,  1.    Total  number  of  votes,  123. 

The  result  of  this  announcement  was  re- 
ceived with  a  great  deal  of  enthusiasm. 
The  President  then  called  Mr.  Eyder  to  the 
platform  and  pinned  a  badge  on  his  coat. 
Mr.  Eyder  said : 

Mr.  President  and  Gentlemen:  I  want  to 
adress  you  as  my  friends.  I  am  very  happy 
for  the  expression  of  kindness  that  you  have 
shown  to  me  this  morning.  I  came  here 
with  a  little  fair  exhibit  of  pictures,  without 


246 


THE    PHILADELPHIA    PHOTOGRAPHER. 


any  idea  of  taking  or  attracting  more  than 
common  notice.  I  have  been  made  a  little 
proud  by  the  many  comments  that  have 
been  made  favorable  to  it;  and  now,  by  the 
act  of  the  Convention  in  voting  me  so  fine 
a  majority,  it  makes  me,  indeed,  happy.  I 
want  to  say  that,  in  my  paper  yesterday, 
there  might  be  the  impression  that  I  was 
working  the  camera,  but  I  have  not  engi- 
neered the  camera  for  a  good  many  years. 
All  the  credit  that  I  have  got  here  belongs 
to  the  people  in  my  house.  I  desire  to  make 
that  remark.  I  thank  you  all  very  much, 
and  I  wish  you  were  all  as  happy  as  I  am 
this  morning. 

Mr.  Cramer :  I  wish  to  correct  a  remark 
that  has  been  made  :  that  if  the  foreign  ex- 
hibit has  been  made  upon  a  certain  brand 
of  paper — I  understand  that  is  the  assertion 
— it  should  be  excluded.  I  assure  you  that 
that  is  not  the  case.  I  have  had  a  good 
deal  of  correspondence  about  it,  and  a  good 
deal  has  been  addressed  to  Mr.  Landy ;  some 
was  addressed  to  me.  I  can  assure  you  that 
Mr.  Gennert  has  used  very  great  efforts  in 
Europe  for  the  purpose  of  collecting  the 
work  from  German  artists. 

The  President :  I  have  a  letter  here  in 
reference  to  this  matter.  There  is  an  in- 
voice here  of  the  different  exhibits,  and  as 
it  is  from  an  albumen  paper  factory  (as  I 
judge  from  the  fact  of  the  letter  being  on 
one  of  their  letter  heads),  it  might  lead  me 
to  suppose  that  something  of  the  kind  was 
the  case.  However,  I  will  read  the  letter, 
and  you  can  then  judge;  the  letter  is  as 
follows : 

Dresden,  June  26,  1885. 
To  the  President  of  the  Photographers1  Asso- 
ciation of  America. 
Sir:  Having  been  appointed  a  member 
of  the  committee  for  procuring  foreign  ex- 
hibits, I  have  the  honor  of  reporting  the 
following : 

Through  the  photographic  journals  in 
Germany,  I  caused  to  be  published  an  in- 
vitation to  photographers  to  participate  at 
the  exhibition  to  be  held  at  Buffalo,  N.  Y., 
from  July  14  to  18,  1885. 

As  an  inducement  for  as  full  a  representa- 
tion of  German  art  as  possible,  I  offered 
two  prizes  :  the  first  a  prize  of  800  marks  ; 
the  second  a  prize  of  150  marks  (both  prizes 


to  be  made  by  me  personally),  for  the  two 
best  collections  exhibited.  The  award  is  to 
be  made  by  judges  appointed  by  the  Asso- 
ciation, or,  if  this  can  not  be  done  by  the 
Association,  the  judges  to  be  appointed  by 
the  President  and  the  Vice-President  of  the 
same  in  their  private  capacity. 

On  my  arrival  in  Germany  I  found  that, 
although  many  had  promised  to  send  full 
exhibits,  the  time  had  not  been  sufficient  for 
preparing  them ;  five  or  six  firms  only  were 
able  to  finish  the  intended  work  in  time  for 
the  exhibition. 

Although  the  object  has  not  been  fully 
accomplished,  enough  work  has  been  sent  to 
allow  of  a  fair  competition  for  the  prizes 
above  mentioned. 

Having  done  the  best  I  could  for  the  short 
time,  I  trust  that  the  Committee  will  accept 
favorably  of  my  efforts,  and  that  these  may 
contribute  to  the  completeness  of  the  exhi- 
bition, and  to  the  success  of  the  Associa- 
tion. 

The  exhibits  not  finished  in  time  for  this 
year's  competition,  might  be  entered  for 
next  year's  exhibition,  so  that  the  exertions 
may  attain  their  intended  object. 

As  the  German  photographers  will  also 
have  an  annual  exhibition,  I  would  suggest 
that  the  Association  adopt  a  resolution  re- 
questing its  members  to  send  specimens  of 
their  work  to  Germany  for  the  next  year's 
exhibition  (time  and  place  to  be  published 
hereafter),  and  I  would  with  pleasure  un- 
dertake to  send  and  to  return  said  specimens, 
believing  thus  to  create  an  International  in- 
terest. The  Association,  I  hope,  will  favor- 
ably consider  this  matter. 

The  balance  of  my  time  I  shall  devote  to 
procuring  the  best  of  albumen  paper,  so  that 
photographers  may  hereafter  find  it  to  their 
thorough  satisfaction. 

I  have  the  honor  to  be, 

Yours,  very  respectfully, 

G.  Gennert. 

The  President :  There  is  the  first  and  sec- 
ond best ;  there  are  five  exhibitors.  I  sup- 
pose the  best  two  will  get  the  prizes — first 
and  second. 

Mr.  Porter,  Indianapolis,  Ind. :  I  think, 
now  the  voting  is  over,  and  we  have  dis- 
posed of  this  subject,  that  a  vote  of  thanks 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


247 


should  be  tendered  to  Mr.  Gennert  for  the 
magnificent  display  of  foreign  pictures  se- 
cured by  him,  and  that  a  committee  of  three 
be  appointed  to  award  the  prizes  of  the 
Association;  I  make  this  as  a  motion. 

The  motion  was  seconded,  and  agreed  to. 

The  President  then  appointed  the  follow- 
ing Committee  on  the  foreign  pictures:  Mr. 
G.  Cramer,  H.  S.  Bellsmith,  and  G.  M. 
Carlisle. 

Mr.  Inglis  then  moved  that,  when  we  ad- 
journ this  afternoon,  we  adjourn  until  eight 
o'clock. 

Agreed  to. 

Mr.  Atwater:  1  see  that  some  mention 
has  been  made  of  a  matter  that  I  think 
ought  to  be  explained,  and  that  an  investi- 
gating committee  ought  to  be  appointed  in 
regard  to  our  former  Convention.  There 
are  ugly  rumors  in  regard  to  the  matter, 
and  I  think  that  it  should  be  explained,  and 
that  reflections  ought  not  to  be  cast  upon 
the  officers  in  this  way. 

A  committee  of  three  was  appointed  to 
investigate  this  matter  and  report  before 
the  close  of  the  meeting.  The  committee 
was  Messrs.  Atwater,  Inglis,  and  Gentile. 

Mr.  Cramer  :  I  would  like  to  get  the  sense 
of  this  house,  if  they  deem  it  proper,  as  to 
the  offering  of  prizes  or  medals  for  exhibits ; 
so  I  move  that  we  offer  ten  medals  for  the 
next  Convention.  I  think  it  is  a  stimulus 
to  the  bringing  out  of  a  fine  collection  of 
pictures,  and  if  we  award  medals  to  more 
than  one  person,  for  instance  to  six,  eight, 
or  ten,  there  will  be  a  good  chance  for  others 
to  get  a  prize.  I  think  that  this  could  be 
done,  and  it  would  have  a  good  effect.  In 
this  manner  we  can  reward  the  meritorious. 
I  am  well  satisfied  this  feeling  is  entertained 
by  a  good  many  in  this  Convention.  If 
there  is  only  one,  it  might  be  difficult  to 
decide  who  should  have  the  medal;  but,  if 
there  are  several  medals,  several  people  will 
be  made  happy.  I  think  it  would  be  a  great 
help  to  the  Association,  and  it  would  bring 
out  a  good  many  fine  exhibits  which  other- 
wise will  not  come.  I  therefore  would  like 
to  make  that  as  a  motion,  and  offer  $500 
towards  their  cost. 

Mr.  Inglis:  I  would  like  to  inquire  if 
this  is  in  accordance  with  the  rules  of  the 
Association  to  do  this? 


Mr.  Cramer :  Yes. 

Mr.  Inglis :  Very  well,  gentlemen,  I 
would  say  something  with  regard  to  this 
matter.  I  do  not  think  that  a  mistake 
would  be  made  if  this  was  done.  I  think 
it  will  bring  out  the  best  exhibition  of  work 
that  our  Association  has  ever  had.  There 
will  be  a  chance  for  every  one,  and  this  will 
stimulate  to  the  highest  attainment  of  their 
abilitjf. 

The  motion  was  then  adopted. 

Mr.  Inglis:  Mr.  Cramer  will  have  an  op- 
portunity in  this  way  of  assisting  the  Asso- 
ciation with  the  $500  that  he  has  subscribed. 

Mr.  Cramer:  My  intention  was  not  to 
make  a  difference  in  the  medals — that  is  to 
say,  number  them  1,  2,  3,  and  4,  but  to 
make  them  all  alike.  They  would  then  be 
awards  of  merit,  otherwise  there  would  be 
too  much  jealousy.  I  do  not  want  this  con- 
sidered as  a  private  matter  at  all,  as  it  is 
very  important.  I  only  want  my  motion 
to  be  considered — that  is,  if  the  Association 
finds  its  proper  and  appropriate.  I  now 
move  that  this  Association  appropriate  the 
sum  of  $200,  which  sum  may  be  increased 
by  voluntary  contributions  by  others,  and 
that  the  full  sum  so  made  up  be  awarded  to 
the  ten  best  exhibits,  reserving  two  for  the 
foreign  exhibits,  and  devoting  eight  to  the 
American  exhibits. 

This  motion  was  agreed  to. 

Mr.  Inglis  :  If  there  are  ten,  that  will  be 
$1000.     Is  that  right? 

Mr.  Cramer:  Yes,  sir.  "We  can  make 
them  of  gold  then. 

Mr.  Inglis  then  moved  that  the  balance 
of  money  over  $1000  be  paid  in  cash,  pro 
rata,  to  each  winner  of  a  prize. 

This  motion  was  seconded. 

Mr.  Potter :  I  think  that  this  is  a  very 
good  motion,  for  this  reason:  It  is  an  ex- 
pensive thing  to  bring  pictures  here  from  a 
distance  necessarily,  and  this  will  stimulate 
others  to  bring  work,  when  they  know  they 
have  a  chance  to  recover  some  of  their  ex- 
penses. 

Mr.  Cramer  :  I  accept  the  amendment  of 
Mr.  Inglis. 

A  motion  to  reconsider  was  then  made, 
that  the  Association  give  $200,  and  the  bal- 
ance to  be  received  in  the  way  of  contribu- 


248 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


tions,  and  that  the  excess  over  $1000  be  di- 
vided among  the  exhibitors  pro  rata. 

The  President :  It  has  been  moved  and 
seconded  that  $200  be  donated  by  the  Asso- 
ciation for  ten  prizes  :  two  to  foreign  exhib- 
itors, and  eight  for  exhibitors  from  the 
United  States  and  Canada,  and  that,  if  the 
amount  of  the  contribution  should  exceed 
$1000,  or  be  in  excess  of  $1000,  that  the  ex- 
cess over  $1000  shall  be  divided  pro  rata 
among  the  winners  of  the  prizes  in  cash. 

Agreed  to  unanimously. 

Mr.  Cramer:  To  make  the  thing  com- 
plete, I  will  make  the  motion  that  the  prizes 
shall  be  awarded  to  the  members  by  ballot, 
and  those  receiving  the  medals  shall  be 
members  of  the  Association.  Those  receiv- 
ing the  greatest  number  of  ballots  shall  be 
considered  the  winners  of  the  premiums. 

Further  discussion  followed  as  to  the 
proper  regulations  concerning  the  awards, 
but  it  was  deemed  best  to  leave  the  matter 
for  future  consideration. 

Defects  Incident  to  the  Construction  and  Use  of 
Rapid  Combination  Lenses. 

The  trade  term  "  Little  Giant3  "  was  not  an 
inappropriate  one  by  which  to  designate  the 
class  of  lens  of  which  I  am  now  to  speak,  imply- 
ing thereby  great  capabilities  in  small  bulk. 
The  term  is  quite  as  applicable  at  present  as  in 
1866,  when  the  first  of  the  class  made  its  advent. 

I  shall  confine  myself  to  principles,  not  indi- 
vidual productions,  as  none  of  the  cemented  and 
so-called  rapid  lenses  of  the  present  day  differ 
in  any  essential  respect  from  each  other,  or  from 
that  of  1866,  which  was  evoked  into  being  by  a 
Munich  professor  on  the  requirement  of  the  late 
Dr.  Van  Monckhoven.  Already  this  lens  bears 
from  twenty  to  thirty  different  names,  each 
dealer  or  each  manufacturer  introducing  modi- 
fications in  form  of  mount  to  warrant  the  coin- 
age of  a  special  designation. 

The  distinction  characteristic  of  the  objective 
is  that  it  is  aplanatic,  or  capable  of  being  em- 
ployed with  full  aperture,  like  a  portrait  lens  . 
it  is  rectilinear,  reproducing  an  object  without 
curvilinear  distortion  ;  it  is  symmetrical,  its  front 
and  back  lenses  being  similar.  The  virtues  of 
this  lens  are  numerous  and  well  recognized. 
There  is,  therefore,  no  need  that  I  should  speak 
of  them.  I  therefore  speak  of  certain  defects 
met  with  occasionally  in  the  productions  of 
even  the  very  best  makers  of  this  rapid  and 
most  useful  class  of  lens. 


A  serious  element  of  danger  is  to  be  found  in 
the  endeavors  of  some  makers  to  produce  lenses 
having  what  opticians  term  a  greater  intensity 
ratio  than  in  those  of  others.  The  aperture  of 
a  lens  is  limited  by  the  density  of  the  glass  of 
which  it  is  formed.  The  large  aperture  of  the 
modern  aplanatic  doublet  is  owing  to  its  being 
formed  of  glass  of  much  greater  density  than 
the  ordinary  optical  flint  and  crown.  The 
greater  the  density  of  the  glass  the  more  may 
the  aperture  be  increased  while  still  retaining 
those  qualities  for  which  this  lens  is  famous, 
viz.,  good  transmission  of  oblique  rays. 

But  glass  of  this  enhanced  degree  of  density 
is  unfortunately  liable  to  decomposition  with 
more  or  less  rapidity.  It  seems  impossible 
hitherto  to  get  glassmakers  to  prepare  glass  of 
great  density,  in  which,  if  it  does  not  possess  a 
well-marked  degree  of  color  from  the  beginning, 
soon  acquires  it  by  time,  hastened  by  the  action 
of  light. 

I  have  never  yet  known  glass  of  this  nature, 
which,  if  ground  into  a  lens,  would  not  show  a 
well-marked  degradation  of  color,  if  removed 
from  its  tube  and  pressed  down  upon  a  sheet  of 
white  paper.  Rapidity  of  action  obtained  at 
such  a  cost  is  delusive.  It  is  quite  possible  by 
employing  flat  curves  to  make  a  lens  of  safe 
glass  which  will  define  well  in  the  centre  of  the 
field,  and  for  a  moderate  distance  away  from  the 
centre,  but  the  definition  invariably  gives  way 
rapidly  towards  the  margin. 

A  well-known  London  optician  once  submitted 
to  the  notice  of  the  Photographic  Society  of 
Great  Britian  three  lenses  all  of  the  same  class 
— that  now  under  consideration.  One  of  them 
represented  an  aperture  of  about  the  eighth  of 
its  focus,  a  second,  a  sixth,  and  a  third,  a  fourth. 
The  first  of  these,  he  had  manufactured  in  the 
regular  way.  Knowing  that  at  that  time  a 
continental  maker,  of  a  justly  celebrated  name, 
was  introducing  a  lens  reported  to  have  greater 
illumination,  I  inquired  why  he  allowed  these 
quick-acting  lenses  to  remain  in  abeyance, 
"  Look  here/'  he  said,  proceeding  to  a  cupboard. 
from  a  shelf  of  which  he  brought  down  certain 
lenses  which  he  handed  me  for  examination, 
"these  are  the  individual  lenses  I  submitted  to 
the  Photographic  Society.  Observe  how  the 
glass  has  changed  color.  Anticipating  this,  I 
would  not  risk  my  reputation  by  making  one 
for  sale."  The  discoloration  was  of  a  most  pro- 
nounced nature.  The  deduction  from  this  is  ob- 
vious. Let  those  who  possess  lenses  for  which 
special  claims  for  rapidity  are  made,  be  careful 
to  keep  them  under  cover  from  the  action  of 
light  when  not  in  use,  as  the  glass  of  which  they 


THE    PHILADELPHIA    PHOTOGKAPHE  R. 


249 


are  made  contains  so  much  lead  or  analogous 
density-conferring  bodies,  as  will  insure  serious 
discolorations,  and  consequent  slowness  of  action 
before  many  years  have  elapsed.  A  lens  having 
what  may  be  considered  a  rather  small  aperture 
may  work  more  quickly  than  one  having  an 
actual  aperture  larger  in  relation  to  its  focus. 

I  now  pass  to  another  defect  inherent  in  some 
of  these  lenses — that  is,  their  tendency  to  give 
a  ghost  or  flare  spot  in  the  centre  of  the  plate. 

Lenses  prepared  by  the  very  best  and  most 
fastidious  manufacturers  occasionally  show  this 
defect,  and  in  two  lenses,  ranking  in  precisely 
the  same  category,  one  may  have  it  and  the 
other  be  quite  free  from  the  defect.  This  often 
arises,  singularly  as  it  may  seem,  from  the  very 
perfection  to  which  lens-testing  has  been  carried 
in  the  better  class  of  manufacturing  establish- 
ments. A  watch  dial  placed  at  a  certain  dis- 
tance forms  the  test  for  definition,  and  when  the 
central  or  axial  definition  of  the  lens  has  been 
found  to  be  correct,  then  is  the  eye-piece  (one  of 
great  power)  by  which  the  image  is  tested  re- 
moved in  a  line  strictly  rectangular  to  the  axis, 
until  the  image  of  the  dial  transmitted  obliquely 
is  found  in  line.  It  is  here  where  the  skill  of 
the  examiner  is  displayed.  He  has  to  adjust  the 
lenses  so  as  to  strike  the  golden  mean  between 
flatness  of  field  and  astigmati'm,  It  is  a  pecu- 
liarity of  all  combinations  of  lenses  that  if  the 
field  be  made  too  flat,  this  quality  is  secured  at 
the  expense  of  astigmation,  or  the  inability  of 
the  lens  to  transmit  an  oblique  ray  under  cir- 
cumstances giving  absolute  sharpness.  For 
example:  If  the  object  to  be  delineated  near 
one  margin  of  the  plate  be  a  white  cross  upon  a 
dark  ground,  it  will  be  found  that  when  the 
vertical  lines  are  focussed  to  sharpness,  the  hori- 
zontal lines  will  be  out  of  focus,  while  by  rack- 
ing the  lens  in  or  out  to  insure  the  sharpness  of 
the  horizontal  line,  the  vertical  one  goes  so  far 
out  of  focus  as,  in  many  cases,  to  vanish  alto- 
gether, the  full  aperture  of  the  lens  being  em- 
ployed. 

It  would  be  out  of  place  in  this  paper  to  indi- 
cate the  methods  employed  by  opticians  to  effect 
the  necessary  compromise  between  good  mar- 
ginal definition  and  flatness  of  field,  but  for  our 
present  purpose  I  may  say  that  the  distance  at 
which  the  one  lens  is  separated  from  the  other 
is  an  important  factor  in  such  adjustment.  But 
in  aiming  at  securing  the  compromising  in  which 
lies  such  perfection  as  they  consider  attainable, 
opticians  sometimes  ignore  an  evil  that,  under 
certain  circumstances,  results  from  adopting  the 
standard  that  they  do. 

With  the  most  perfectly  corrected  lens  it  often 


happens  that  when  employed  for  out-of-door 
work,  and  used  with  a  small  diaphragm,  there 
will  be  a  distressing  spot  of  luminousness  on  the 
centre  of  the  plate.  This  is  not  peculiar  alone 
to  the  cemented  rapid  lens,  but  was  a  well-recog- 
nized characteristic  of  the  now  unused  globe 
lens.  It  is  a  peculiarity  of  almost  every  exist- 
ing portrait  combination,  and  sometimes  also  of 
single  landscape  lenses.  When  lenses  are  used 
in  the  studio  for  portraiture  or  groups  it  is  never 
seen,  but  when  a  bright  sky  forms  a  portion  of 
the  included  subject,  then  it  is  apparent,  but 
mainly  so  only  when  there  is  a  small  stop,  for 
the  smaller  the  diaphragm  the  more  pronounced 
will  be  the  flare  or  ghost-spot. 

I  observe  here,  although  slightly  outside  of 
my  subject,  that  there  is  no  lens  made,  even  the 
simplest  magnifying  glass,  that  has  not  two 
foci,  one  of  them  the  principal  focus  caused  by 
the  refraction  of  the  transmitted  rays,  the  other 
being  much  closer  to  the  lens,  and  caused  by  an 
internal  reflection  to  which  a  portion  of  the 
light  has  been  subjected.  This  it  is  which  op- 
erates in  the  case  of  a  ghost,  produced  by  a 
single  landscape  lens,  and  it  is  remedied  by  dis- 
placing the  diaphragm  from  its  position  to  the 
extent  of  from  a  quarter  to  a  half  inch,  the 
ghost,  in  such  a  case,  being  an  image  of  the  stop 
which  is  in  one  conjugate  of  the  abnormal  trans- 
mission, the  sensitive  plate  being  in  the  other. 
Disturb  the  relation  of  the  first,  and  the  second 
vanishes. 

This  explanation  does  not  meet  the  case  where 
a  combination  is  concerned.  Premising  that  the 
ghost  is  never  discernible  when  working  inside 
a  studio,  but  only  when  operating  outside  with 
a  moderately  bright  sky,  or  when  taking  the  in- 
terior of  a  church  or  similar  building,  I  here 
repeat  what  I  have  recommended  as  being  the 
best  means  by  which  to  discover  whether  a  lens 
possesses  this  propensity.  Screw  it  on  a  camera, 
and  bring  it  into  a  room  lit  by  a  gas-flame,  Go 
to  a  distance  of  several  feet  and  examine  the 
flame  on  the  ground  glass.  The  image  will  be 
sharp,  bright,  and  inverted.  Now  move  the 
camera  slightly  so  as  to  cause  the  inverted  image 
to  be  a  little  to  one  side  of  the  centre  of  the 
focussing  screen,  and  in  nine  cases  out  of  ten 
there  will  be  seen  a  ghostly  image  at  the  oppo- 
site side  of  the  centre.  This  secondary  image 
is  non-inverted,  and  upon  rotating  the  camera 
it  moves  in  the  opposite  direction  to  the  primary 
image.  The  nature  of  this  secondary  image  or 
ghost,  and  the  cause  of  its  formation,  may  be 
examined  in  the  following  way:  Move  the 
camera  so  that  the  ghost  shall  be  near  the  mar- 
gin, and  then,  placing  the  eye  in  the  line  of  that 


250 


THE    PHILADELPHIA    PHOTOGRAPHER. 


image  and  the  lens,  withdraw  the  ground  glass, 
when  the  posterior  surface  of  the  lens  will  be 
found  to  be  quite  luminous.  That  the  false 
image  is,  in  this  ease,  caused  by  a  reflection 
from  the  back  surface  of  the  anterior  lens  is 
demonstrable  by  unscrewing  the  cell  containing 
it  until  it  almost  drops  out  of  the  tube,  and  then, 
keeping  an  eye  upon  both  the  primary  and 
secondary  images  on  the  ground  glass,  move  or 
slightly  wriggle  the  front  cell,  which  by  its 
being  nearly  unscrewed  may  now  be  easily 
done,  when  it  will  be  seen  that  when  the 
primary  or  legitimate  image  of  the  flame  re- 
mains motionless,  the  ghostly  image  caused  by 
the  reflection  from  the  front  lens  dances  about 
all  over  the  plate.  But  observe,  further,  there 
is  a  certain  distance  between  the  front  and  back 
lenses,  at  which  this  secondary  image  is  sharp 
and  bright,  and  in  proportion  as  either  the  front 
or  the  back  lens  cells  is  screwed  in  or  out,  so 
does  the  image  become  more  attenuated  and  ex- 
panded, till  at  last  it  ceases  to  be  seen  altogether, 
while  all  this  time  the  real  image  is  not  seen  to 
suffer  in  any  way.  This  tendency  of  the  ghostly 
image  to  pass  out  of  focus  with  such  extreme 
rapidity,  upon  separating  the  lenses  by  a  few 
turns  of  the  screw,  or  by  making  them  come 
nearer  each  other,  provides  the  means  by  which 
this  evil  may  be  cured.  A  rapid  doublet  may 
be  excellent  for  portraits,  groups,  copying,  and 
every  other  purpose,  and  yet  break  down  when 
employed  with  a  small  stop  in  landscape  work. 

Within  the  past  few  weeks  I  am  aware  of  a 
lens  recently  imported  from  manufacturers  of 
the  highest  eminence,  which,  while  perfect  in 
every  other  respect,  was  defective  as  regards  the 
ghost.  As  the  result  of  careful  testing  in  a  tem- 
porary tube,  it  became  apparent  that  a  cure 
could  be  effected  by  shortening  the  tube  about 
an  eighth  of  an  inch,  which  was  done  without 
flatness  of  field  being  impaired  in  any  discover- 
able degree. 

The  most  perfect  mount  for  lenses  of  this  class 
would  be  that  in  which  the  privilege  was  afforded 
the  user  of  making  an  adjustment  to  suit  work 
of  any  nature  by  the  separation  of  the  lenses  to 
a  very  limited  extent,  so  as  to  be  used  under  the 
most  perfect  conditions  for  the  special  work  in 
hand.  With  a  lens  of  about  eleven  inches  focus, 
a  sliding  adjustment  of  half  an  inch  has  been 
adopted  with  beneficial  results. 

On  motion  of  Mr.  Ryder,  a  vote  of  thanks 
was  tendered  to  Mr.  Taylor  for  his  able 
paper. 

The  President  announced  that  the  group 
would  be  taken  this  afternoon  at  four  o'clock 


in  the  rear  of  the  hall  on  a  plate  18  x  22. 
A  vote  of  thanks  was  tendered  to  Col. 
Wortley  for  his  excellent  paper,  and  also  to 
the  authors  of  papers  which  have  been 
already  read.  On  motion,  the  Convention 
then  adjourned  until  two  o'clock  P.M. 

Third  Dat. — Afternoon  Session. 

The  Association  was  called  to  order  by  the 
President  at  two  o'clock  p.m. 

The  first  thing  in  order  was  a  paper  by 
W.  H.  Potter  on  the  introduction  and  devel- 
opment of  dry  plates. 

Mr.  Potter  then  read  his  paper  as  follows  : 

The  Handling  and  Development   of  Dry  Plates. 

Mr.  President,  Ladies,  and  Gentlemen :  The 
subject  will  be  briefly  treated  under  three  heads  : 
the  man,  the  light,  and  the  development. 

And,  first,  in  regard  to  the  man  thought  quali- 
fied to  go  through  successfully  with  the  various 
manipulations  connected  with  the  production  of 
gelatine  negatives:  The  critical  dicta  that 
"  anyone  can  make  dry  plates,  but  it  takes  a 
genius  to  develop  them/''  or  that  "  one  science 
only  will  one  genius  fit,  so  vast  is  art,  so 
narrow  is  human  wit,"  are  rather  sweeping  to 
apply  to  development,  which  is  only  a  branch  of 
a  science;  but  still  the  higher  the  mental  train- 
ing, and  the  more  perfect  the  command  of  all  the 
faculties,  the  greater  will  be  the  success  of  our 
man. 

But  no  great  thing  is  achieved  in  a  rush  ; 
there  is  a  great  deal  of  preparation,  a  succession 
of  events,  preceding  a  crisis,  or  a  great  achieve- 
ment; so  the  guiding  hand,  and  the  governing 
will,  to  be  successful,  must  be  disciplined  by  pre- 
vious habits  and  modes  of  action.  One  must  be 
ready  for  the  decisive  moment  wherein  the  fit 
achieve  success,  the  unfit  suffer  defeat.  In  the 
tide  of  one's  affairs,  how  can  he  take  it  at  the 
flood,  if  he  has  neglected  his  schooling  in  the 
methods  which  guarantee  success? 

The  appearance  of  the  beggar  on  horseback  is 
but  so  much  against  him  as  is  the  pinched-up 
soul  within  which  makes  him  unequal  to  the 
situation. 

One's  battle  is  mainly  with  himself;  he  stands 
alone  in  judgment,  therefore  he  should  not  waste 
his  time  villifying  his  neighbors,  but  bend  every 
effort  and  seize  every  effort  and  seize  every 
opportunity  for  his  own  improvement,  and  that 
of  his  productions.  He  should  also  remember 
that  low  grasping  ultimately  defeats  itself,  and 
that  those  who  labor  solely  for  low  material 
interests  seldom  receive  the  prize. 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


251 


Neither  will  he  delight  in  stained  hands,  be- 
smeared clothes,  and  dishevelled  hair ;  nor  will  he 
rush  hither  and  thither,  hoping  thereby  to  con- 
vey the  ideal  of  a  driving  business  and  of  his 
own  self-importance  ;  nor  any  other  kind  of  clap- 
trap or  pretence,  for  this  is  the  way  of  the  unfit, 
and  they  cut  a  sorry  figure  in  the  eves  of  the 
judicious. 

"Oh,  wad  we  had  the  giftie  gie  us, 
To  see  ourselves  as  others  see  us." 

But  can  every  conscientious  energetic  photog- 
rapher become  master  of  dry-plate  manipulation, 
or  is  it  attainable  only  to  the  few  ? 

Gifts  to  men  have  been  distributed  as  bounti- 
fully as  light  and  air,  but  unfortunately  the 
many  neglect  their  talents  and  opportunities, 
the  few  only  make  the  most  of  them  ;  these  are 
sought  after,  those  are  neglected.  It  rests  with 
each  individual  what  shall  be  the  measure  of  his 
success,  as  God  helps  them  that  help  themselves. 

What  a  man  ardently  desires  and  strives  after, 
that  shall  he  accomplish.  The  difference  in 
men's  talents  is  not  so  great  as  is  their  persistent 
determination;  and  this  is  susceptible  of  culti- 
vation. 

That  a  man's  judgment  and  knowledge  deter- 
mine the  quality  of  his  negatives  is  sufficiently 
demonstrated  by  the  knowledge  that  his  nega- 
tives differ  from  every  other  man's,  although 
made  from  the  same  emulsion  and  developed 
with  the  same  kind  of  developer. 

His  every  faculty  enters  into  his  conception  of 
what  a  negative  should  be.  Then  is  he  governed 
by  crude  notions  or  guided  by  thorough  theo- 
retical and  practical  knowledge?  The  value  of 
his  opinions  or  productions  can  be  measured  by 
the  answer  to  this. 

Therefore,  get  understanding,  get  wisdom; 
great  is  the  value  of  it.  Have  faith,  have  hope, 
have  determination;  no  great  poet  sings;  nor 
no  great  master  paints  without  these.  In  fact, 
a  certain  amount  of  sentiment  and  enthusiasm, 
and  even  a  little  fanaticism,  seems  necessary  to 
any  great  achievement  in  any  one  direction. 

THE    LIGHT. 

In  the  attainment  of  perfect  chemical  results, 
the  management  of  the  light  is  of  supreme 
importance. 

It  matters  not  how  perfect  the  plates,  the 
lens,  or  the  development  may  be,  if  the  lighting 
is  defective,  the  result  will  not  be  a  first-class 
negative;  for  in  such  cases,  with  the  best  mate- 
rials, only  a  map  representation  can  be  obtained. 

In  portraiture,  should  one  so  light  the  face  as 
to  have  crescents  in  the  eyes,  with  possibly  stars 
in  the  pupils  for  high  lights,  perfect  modelling 


or  definition  is  out  of  the  question,  because  the 
same  flood  of  light,  which  has  made  a  caricature 
of  the  eyes,  has  utterly  obliterated  the  delicate 
curves  about  the  most  important  features  of 
the  face. 

This  criticism  is  made  because  too  many  pho- 
tographs, even  to  this  day,  have  defects  ;  and 
judging  from  these,  too  many  that  are  consid- 
ered first-class  galleries,  use  the  same  quantity 
of  light  for  dry  plates  that  was  found  absolutely 
necessary  for  the  wet.  This  charge  lies  mainly 
against  those  who,  having  clung  to  wet  plates 
till  they  were  compelled  by  the  force  of  circum- 
stances to  use  the  dry,  have  gone  off  on  a  tangent 
trying  to  make  all  sorts  of  difficult  positions 
without  headrests,  and  to  achieve  this,  flood  the 
subject  with  so  much  light  as  to  sacrifice  defini- 
tion to  effect. 

But  it  is  now  possible  without  risk  of  the  sub- 
ject moving  or  of  underturning  to  model  up  the 
subject  with  light  somewhat  as  a  painter  or 
sculptor  would  under  similar  conditions.  This 
can  readily  be  accomplished,  the  light  is  brought 
under  absolute  control  by  properly  curtaining 
the  skylight.  For  a  twelve  foot  light  there 
should  be  at  least  two  curtains  for  the  sidelight 
and  two  respectively  fastened  at  the  top  and 
bottom  of  the  top  light. 

With  such  an  arrangement  the  light  may  be 
so  adjusted  as  to  bring  the  high  lights  in  the 
eyes  to  a  mere  point,  and,  if  at  the  proper  angle, 
the  whole  face  will  be  so  lighted  as  to  give  good 
modelling  and,  with  proper  timing,  good  defini- 
tion. 

Under  such  conditions  the  pupils  will  not  con- 
tract, nor  will  the  subject  frown.  But  what 
light  you  have,  have  it  clear  and  brilliant,  as  it 
is  folly  to  talk  of  brilliant  chemical  effects 
without  a  brilliant  light.  Proper  or  full  timing 
will  give  all  the  softness  required.  Use  rapid 
plates  and  light  boldly  for  relief  and  brilliancy. 
Silver  plates  demand  too  much  light  or  too  pro- 
longed timing  to  get  the  best  results  as  to  either 
definition  or  expression. 

In  regard  to  the  exposure,  the  only  safe  crite- 
rion is  the  relative  brilliancy  of  the  images  on 
the  ground-glass;  and  one  should  school  himself 
to  judge  critically  of  the  brightness  and  color  of 
the  image;  decide  that  this  subject  requires  so 
many  seconds,  that,  so  many  more  or  less. 

Rely  on  and  cultivate  your  judgment;  thereis 
great  demand  for  it  in  lighting,  posing,  etc.,  if 
one  cannot  put  confidence  in  himself,  who  should. 

THE    DEVELOPMENT. 

This  shall  be  confined  to  my  present  methods 
of  procedure,  and  stated  as  concisely  as  possible. 


252 


THE    PHILADELPHIA    PHOTOGRAPHER. 


Two  kinds  of  development  are  used  : 

The  Ammonia  Pyro    Developed 

Sulph.  of  Soda  (cryst.) 


6    oz. 

H  oz. 
2  oz. 
4£  oz.  (avoir.) 


Brom.  of  Ammonium 
Brom.  of  Potas.    . 
Pyro      . 

Dissolve  thoroughly  and  add  sulphuric  acid, 
two  to  forty  minims,  and  liquid  ammonia,  six 
ounces,  and  enough  water  to  make  eighty  ounces 
of  solution. 

Use  eight  drachms  of  this  stock  solution,  and 
from  eight  to  eleven  ounces  or  water. 
The  Soda   Pyro  Developer. 

A.    The  pyro  portion. 
Water    .         .         .         .       96  oz. 
Acid      ....       96  grs.  (dis.) 
Alcohol  .         .         .         6  dr. 

Pyro      .         .         .  16  oz. 

B.    Soda  portion. 
Water    .         .         .         .     120  oz. 
Carb.  Soda    ...       16  oz. 
Sulphite  (Gram.)  .         .       16  oz. 

Use  one  and  a  half  to  four  drachms  of  the  pyro 
solution,  eight  of  the  soda,  and  seven  ounces  of 
water. 

The  ammonia  pyro  and  the  pyro  portion  of  the 
soda  developers  are  kept  in  six  ounce  bottles,  and 
will  keep  indefinitely. 

Ordinarily,  the  developers  are  mixed  as  follows: 

Three  drachms  of  pyro  solution,  eight  drachms 
of  soda,  and  seven  ounces  of  water.  The  am- 
monia pyro,  eight  drachms,  and  eight  ounces  of 
water. 

Two  trays  are  used  in  developing  the  smaller 
sizes ;  partly  for  expedition  and  partly  because 
slight  modifications  may  be  made  quickly  in  the 
mode  of  development. 

The  timing  is  judged  to  be  absolutely  right, 
but  a  little  short,  the  soda  developer  is  poured 
into  the  tray  and  the  plate  placed  in  it.  Should 
development  progress  too  rapidly,  place  the 
negative  in  it  or  the  tray  into  which  some 
ammonia  pyro  has  been  poured.  Should  the 
timing  be  considered  a  little  full,  start  with  the 
ammonia  pyro  first. 

If  the  exposure  be  first  right,  the  ammonia 
pyro  brings  up  the  image  almost  as  rapidly  as 
in  wet-plate  development,  and  the  negative  has 
a  light  straw  color  bloom  with  excellent  printing 
qualities. 

Should  its  exposure  be  much  too  short,  it 
gives  too  much  color  and  contrast.  In  such 
cases  the  soda  developer  is  far  superior.  With 
the  two  developers  combined,  in  various  propor- 
tions, many  modifications  may  be  made. 


There  is  a  peculiar  relief  or  atmospheric  effect 
given  to  the  negative,  which  is  distinguishable 
from  that  of  either  alone. 

In  developing  18x22  or  20x24  plates,  the 
ordinary  method  is  modified  in  the  following 
manner :  in  the  sixteen  ounce  bottle  are  mixed 
three  or  four  drachms  of  the  pyro  solution,  two 
ounces  of  the  soda  solution,  and  the  bottle  filled 
with  water  ;  in  another  eight  ounce  bottle  are 
poured  three  drachms  of  pyro  solution,  one 
ounce  of  soda  solution,  and  filled  with  water; 
in  another  eight  ounce  bottle,  one  ounce  of  am- 
monia pyro,  and  the  bottle  filled  with  water; 
The  developing  tray  partly  filled  with  water,  and 
the  plate  placed  in  it  and  allowed  to  soak  a  few 
moments,  or  till  the  water  will  run  off  without  a 
ridging,  when  it  is  quickly  poured  off  and  the 
developer  in  the  sixteen  ounce  bottle  is  dashed 
on  and  the  tray  rocked  to  secure  even  develop- 
ment. 

Should  the  exposure  prove  short,  this  devel- 
oper, weakened  pyro,  will  save  it;  or  the  expos- 
ure proving  about  right,  pour  it  in  eight  ounces 
of  normal  soda  solution  ;  or  if  full  exposure  is 
indicated,  use  instead  the  eight  ounce  ammonia 
pyro  solution,  which  will  cheek  rapid  develop- 
ment and  give  intensity  without  making  a  slow 
printing  negative. 

It  has  been  noticed  in  the  development  of 
large  plates,  when  the  developer  is  any  way 
near  the  right  power  or  strength,  the  image  will 
come  up  rapidly  at  first,  but  will  soon  check  up 
and  proceed  quite  leisurely,  and  the  mode  of 
procedure  prove  just  right. 

But  if  the  shadows  come  up  too  much  before 
the  checking  of  it  begins,  without  the  addition 
of  more  developer  stronger  in  pyro,  the  negative 
will  have  to  be  over-developed  to  get  printing 
strength;  or  if  the  stronger  pyro  solution  be 
added,  when  really  it  is  not  needed,  the  negative 
will  then  have  too  much  contrast,  and  if  not 
speedily  checked  too  much  intensity  also. 

It  takes  an  exceedingly  quick  apprehension  to 
realize,  in  time  to  correct  a  mistake  made  in  the 
commencement  of  development,  and  what  modi- 
fications are  necessary  to  redeem  the  negative. 

It  is  simply  impossible  in  all  cases  to  begin 
development  just  right.  Ample  preparation 
should  be  made  for  all  contingencies,  as  one 
should  not  rely  too  much  upon  his  wit  to  help 
him  out  of  a  tight  box;  and  yet  his  mother-wit 
may  be  the  ultimo  theory  in  the  redemption  of 
an  otherwise  hopeless  situation.  The  great  thing 
is  the  ability  to  comprehend  the  situation  in 
each  particular  case;  the  readiness  to  make  pos- 
sible modifications,  and  the  grit  and  alertness  to 
make  them  in  time.     It  takes  a  brave  man  to 


THE    PHILADELPHIA    PHOTOGiJAPHEE. 


253 


avoid  getting  rattled  and  winding  up  with  a 
negative  too  thin,  too  intense,  or  with  too  much 
contrast. 

We  will  close  with  an  answer  to  the  question, 
"  Does  rocking  the  plate  during  development 
secure  contrast  ?  " 

That  evenness  and  cleanness  are  obtained  by  it 
is  not  questioned  so  directly  by  the  answer.  The 
molecules  of  bromide  of  silver,  disturbed  or 
changed,  by  a  proper  exposure  from  the  highest 
light  to  the  deepest  shadow,  are  in  progressive 
diminution.  All,  or  nearly  all,  of  the  bromide 
of  silver  on  or  near  the  surface  of  that  portion 
of  the  plate  which  represents  the  highest  light  is 
changed,  while  but  a  small  amount  is  a  light 
effected  in  the  deepest  shadows. 

These  mechanical  agitations  of  the  developer 
cause  a  more  rapid  chemical  action,  so  that 
before  the  developer  has  had  time  to  penetrate 
the  film  to  any  considerable  extent,  the  reduction 
in  high  lights  has  been  carried  to  a  much  further 
point  than  it  otherwise  would,  had  the  developer 
remained  quiescent.  The  start  the  high  light 
has  secured  over  the  shadows,  is  maintained 
throughout  ordinary  development;  also  the 
shadows  requiring  all  or  nearly  all  the  changed 
silver,  both  in  and  on  the  surface  of  the  film,  to 
give  proper  definition,  the  high  lights  have  time 
to  darken  sufficiently  to  produce  proper  contrasts. 

But  there  is  still  another  factor  contributed  to 
the  same  result.  The  greater  amount  of  free 
bromine  thrown  off  in  the  high  lights,  and  com- 
bining with  the  quiescent  developer  lying  imme- 
diately over  the  high  lights,  retards  development 
in  the  lights,  while  in  the  shadows,  the  devel- 
opment being  less  retarded  from  this  cause,  pro- 
gresses too  rapidly  to  secure  contrasts ;  but  by 
agitation  the  power  of  the  developer  is  kept 
uniform  over  the  surface  of  the  plates,  and  the 
high  lights  retain  all  other  advantages  secured  in 
the  exposure. 

On  motion  of  Mr.  Taylor,  a  vote  of  thanks 
was  tendered  Mr.  Potter  for  his  very  fine 
and  able  paper. 

A  paper  was  then  read  by  Mr.  Taylor, 
written  by  Mr.  William  Ashman,  as  follows : 

A  Portable  Support  for   Washing  Gelatine 
Plates. 

An  invitation  to  communicate  anything  upon 
such  an  important  occasion  as  the  present  is  an 
honor  which  has  given  me  great  pleasure,  min- 
gled with  anxiety,  lest  the  subject  which  might 
appear  to  me  to  be  fitting,  should  prove  to  be 
identical  with  that  chosen  by  one  of  yourselves, 
whom  we,  who  have  the  opportunity   of  being 


posted  up  in  American  photographic  literature, 
know  to  be  thoroughly  practical.  In  fact,  so 
much  are  some  of  us  impressed  with  this  idea 
that  it  appears  questionable  whether  we  can  in- 
dicate anything  of  practical  value  which  pos- 
sesses the  merest  flavor  of  novelty  about  it, 
when  it  reaches  the  hall  of  your  great  Conven- 
tion. 

If,  therefore,  as  I  honestly  suspect  that  I  too 
have  failed  in  this  particular,  it  has  doubtless 
been  done  in  good  company.  Be  this  as  it  may, 
while  in  the  dilemma  just  mentioned,  my  eye 
rested  upon  some  negatives  from  which  the  fix- 
ing salt  was  rapidly  passing  away,  and  it  oc- 
curred to  me  that  a  portable  support  would,  at 
all  events,  be  something  to  make  and  mail  in 
time  for  the  meeting. 

It  was  thereupon  settled,  and  I  have  asked 
our  mutual  and  highly  respected  friend,  Mr.  J. 
Traill  Taylor  to  introduce  the  result  to  your 
notice,  with  these  few  accompanying  remarks. 

A  detailed  description  is  hardly  necessary,  as 
Mr.  Taylor  will  place  before  you  the  first  and 
only  frame  that  I  know  of,  so  that  it  will  be  suf- 
ficient to  refer  merely  to  its  use  from  a  theoreti- 
cal as  well  as  a  practical  point  of  view. 

Starting  then  with  a  plate  fresh  from  the  fix- 
ing bath,  we  have  a  skin  of  gelatine  swelled  to 
its  full  extent  with  an  aqueous  solution  of  sodium 
thiosulphate,  and  possibly  plus  a  portion  of  the 
double  silver  and  sodium  thiosulphate  salt. 
The  former  we  know  to  be  soluble  in  water,  and 
the  latter  is  only  soluble  in  an  excess  of  the 
first  named.  For  this  reason  it  is  customary  for 
us  to  allow  our  negatives  to  remain  a  longer 
time  in  the  fixing  bath  than  is  necessary  to  dis- 
solve out  the  visible  silver  bromide. 

From  this  skin  we  desire  to  remove  all  traces 
of  the  fixing  salt,  leaving  it  swelled  with  water 
or  other  suitable  liquid,  free  from  chemical  con- 
taminations of  a  harmful  nature.  The  question 
then  arises  which  is  the  easiest  and,  at  the  same 
time,  the  most  expeditious  method  of  bringing 
this  state  of  things  about.  Obviously  the  plan 
of  placing  a  negative  film  uppermost  at  the 
bottom  of  a  vessel  of  water,  has  little  to  recom- 
mend it,  for,  as  everybody  knows,  a  stagnant  pool 
is  not  the  best  place  to  cleanse  anything. 
Another  plan,  that  of  passing  a  stream  of  water 
over  the  surface,  possesses  an  advantage,  as  we 
know,  over  the  last  named  ;  but  the  stream  needs 
to  run  a  long  time  before  there  will  be  suf- 
ficient dilution  to  permit  complete  removal  of 
the  salts  from  the  under  surface. 

Soaking  plates  in  vessels  fitted  with  vertical 
grooves  is  an  improvement  upon  the  foregoing, 
but  the  plan,  although  in  general  use  in  Europe, 


254 


THE    PHILADELPHIA    PHOTOGKAPHEP. 


does  not  reach  theoretical  perfection,  neither 
can  a  greater  number  of  plates  be  washed  in  the 
same  space  than  by  the  method  I  desire  to 
bring  under  your  notice. 

All  fixing  salt  eliminators,  except  alcohol  and 
water,  have  a  destructive  influence  upon  gela- 
tine, which  renders  their  employment  a  matter 
of  some  delicacy,  and  unfit  for  general  commer- 
cial application.  Therefore,  unless  we  discover 
some  other  specific,  we  must  be  satisfied  to  em- 
ploy dilute  alcohol  or  water  for  the  purpose  ;  of 
the  two  the  latter  is  preferable,  and,  until  some 
one  proves  to  the  contrary,  I  take  it  that  a 
method  of  supporting  films  horizontally  in  con- 
tact with  a  body  of  water  in  gentle  motion  is  as 
nearly  correct  in  theory  as  we  can  get  at  it. 
The  accompanying  frame  which  may  be  as 
easily  carried  as  a  cabinet  photograph,  will 
when  extended  and  fixed,  support  six  half  plate 
negatives  (English  size),  and  can  be  made  by 
any  one  in  a  few  minutes.  The  films  are  placed 
downward,  and  are  not  likely  to  get  damaged, 
because  the  sharp  edges  of  the  glass  plate  are  in 
contact  with  and  wedged  between  the  three  sup- 
porting pillars,  and  may  with  safety  be  placed 
in  a  running  stream  of  water  until  it  is  consid- 
ered the  negatives  have  had  sufficient  washing, 
when  the  frame  can  be  placed  in  a  current  of 
air,  and  the  negatives  will  dry  without  dust 
settling  upon  the  surfaces. 

It  is  convenient  when  travelling  to  have  zinc 
tanks  large  enough  to  take  one  or  more  frames 
of  this  kind,  and  they  might  be  made  in  the 
form  of  packing  cases  utilizable  for  the  protec- 
tion of  lenses,  bottles,  etc. 

If  a  metal  exit  tube  is  soldered  in  the  base  or 
perforations  made  in  the  lower  corners,  so  that 
a  constant  withdrawal  of  liquid  occurs,  the  same 
being  replaced  from  a  faucet,  about  sixty  min- 
utes of  such  treatment  would  be  found  sufficient 
to  wash  effectually  a  thickly  coated  gelatine 
plate. 

Very  little  consideration  will  show  that  any 
soluble  matter  a  negative  may  contain,  such  at 
all  events  as  we  are  accustomed  to  deal  with, 
must  by  the  natural  law  of  gravity  pass  through 
the  gelatine  into  the  water  below,  converting  the 
film,  as  it  were,  into  a  kind  of  septum,  and  thus 
practically  washing  by  dialysis. 

In  every-day  practice  I  employ  similar  frames 
of  rigid  construction,  but  the  example  sent  here- 
with represents  the  idea  in  a  convenient  form, 
which  may  be  appreciated  by  the  touring  pho- 
tographer and  the  holiday  maker. 

The  question  box  was  then  opened,  and 
some   thirty   questions   were    read.      Some 


were  practical,  some  were  silly,  and  some 
were  frivolous.  A  few  were  practically  an- 
swered rapidly  as  re-read  by  the  President, 
but  as  all  were  such  as  may  be  found  an- 
swered fully,  over  and  over  again,  in  the 
books,  we  spare  our  space  for  a  full  report 
of  the  most  excellent  debate  which  followed 
in  the  evening. 

On  motion,  adjourned  to  8  P.  m. 

Third  Day. — Evening  Session. 

The  President  called  the  Association  to 
order  at  8  o'clock. 

The  President:  I  believe  the  first  business 
will  be  the  discussion  on  the  development 
and  handling  of  dry  plates. 

Mr.  Bellsmith  :  Before  that  is  brought 
up,  I  would  like  to  read  the  report  of  the 
committee  appointed  on  awarding  the  Gen- 
nert  prizes.     The  report  is  as  follows  : 

Mr.  President,  your  committee  appointed 
to  award  the  Gennert  prizes  for  the  best 
two  photographic  exhibits  from  Germany 
desire  to  report  as  follows :  That  the  first 
prize  be  awarded  to  Fritz  Eilender,  of  Co- 
logne, and  the  second  prize  to  Frederick 
Muller,  of  Munich.  In  addition,  we  desire 
to  express  our  appreciation  of  the  extraordi- 
nary merit,  the  beauty,  and  general  excel- 
lence of  the  entire  foreign  display.  The 
peculiar  style  of  the  German  work  being  so 
different  in  many  respects  from  that  prevail- 
ing among  American  photographers,  the 
examples  have  proven  extremely  interesting 
studies,  and  we  doubt  not  will  lead  many 
of  our  members  to  emulate  the  style  of  these 
most  excellent  examples  from  our  German 

brethren. 

G.  Cramer, 

G.  M.  Carlisle, 

H.  S.  Bellsmith, 

Committee. 

On  motion,  the  report  of  the  Committee 
was  accepted  and  the  Committee  discharged 
with  the  thanks  of  the  Association. 

The  President:  Now  we  are  ready  for  the 
discussion. 

Mr.  Inglis:  I  thought  that  this  was  going 
to  be  a  subject  that  every  one  would  be 
ready  to  make  a  grab  at.  They  seem  to  be 
very  slow  to  take  hold,  and  I  rise  simply  to 
open  the  discussion.  In  regard  to  the  paper 
of  Col.   Stuart  Wortley,    that  was  read,  I 


THE    PHILADELPHIA    PHOTOGRAPHER 


255 


was  very  much  pleased  with  the  peculiar 
way  in  which  the  developer  was  put  together 
and  given  to  us.  Yet,  nevertheless,  as  far 
as  my  experience  has  gone,  I  have  changed 
my  mind  as  to  the  very  fine  qualities  of  the 
ammonia  developer.  I  have  of  late  adopted 
the  potash  developer,  for  reasons  which  I 
think  quite  justifiable.  There  are  objections 
to  the  potash  developer  which  are  not  met 
with  in  the  use  of  the  pyro  ammonia  devel- 
oper, and  that  is  as  Col.  Stuart  Wortley 
has  said  in  his  paper.  Perhaps  I  am  mixing 
the  two  papers  together  ;  I  would  not  like 
to  say,  however.  It  is  to  this  effect,  that  the 
pyro  ammonia  developer  will  develop  much 
quicker  than  the  potash  developer.  I  know 
that  the  potash  developer  may  be  made  to 
work  very  rapidly  also ;  but  in  doing  this, 
the  good  qualities  in  the  plate  are  not 
brought  out.  As  far  as  I  have  been  able  to 
use  it,  there  is  no  necessity  for  saying  any- 
thing as  to  how  I  use  it — that  is,  how  I 
compound  it,  inasmuch  as  it  is  in  use  all 
over,  and  any  one  may  have  it.  Mr.  Car- 
butt  has  a  developer  which  works  very  much 
in  the  same  way.  It  would  not  matter 
whether  I  used  it  the  way  he  puts  it  to- 
gether, or  the  way  I  have  it  put  together; 
that  would  not  make  any  difference  at  all. 
However,  the  beauties  that  1  find  in  it  are 
these,  or  some  of  them  at  any  rate :  If  I 
have  a  plate  that  is  very  much  undertimed, 
I  can  with  much  less  care  and  difficulty 
bring  out,  down  into  the  deep  shadows  with 
the  potash  developer,  that  which  I  was  never 
able  to  reach  with  the  ammonia.  It  cer- 
tainly takes  much  longer  time  to  do  it,  and 
I  think  it  is  because  of  its  taking  that  longer 
time  that  I  get  better  qualities. 

I  can  also  keep  it  from  becoming  hard — 
that  is,  I  can  keep  the  negative  from  becom- 
ing hard  or  harsh  in  any  way  whatever  with 
the  potash  by  using  it  exceedingly  weak. 
Sometimes  I  will  take  one  drachm  of  No.  1 
and  two  drachms  of  No.  2,  and  I  will  take 
as  much  as  twenty  arod  sometimes  thirty 
ounces  of  water  to  that  very  small  quantity 
— that  is,  if  the  negatives  have  been  very 
quickly  exposed.  It  is  impossible,  I  think, 
for  any  one  to  tell  another  exactly  how  to 
work.  It  seems  to  be  an  instinct.  I  seem 
to  feel  what  is  wanted.  I  only  stated  this 
as  a  sort  of  foundation  that  others  may  work 


from.  If  the  plate  comes  out  showing  any 
kind  of  hardness  in  the  whites,  I  immediately 
add  more  water  to  it.  Scarcely  any  one  can 
realize  the  amount  of  water  I  add,  governed 
simply  by  the  appearance  of  the  progress  of 
this  developer,  and  I  have  been  more  than 
once  astonished  myself  at  the  results. 

I  have  simply  kept  away  the  harshness 
that  would  otherwise  come  about,  and  I 
have  never  yet  failed  to  bring  the  clouding 
out,  as  far  as  it  seems  to  be  possible  to  bring 
it  out,  without  producing  the  slightest  sign 
of  harshness  or  contempt.  I  generally  se- 
cure all  that  is  to  be  brought  out,  yet  have 
the  negatives  good.  When  I  arrive  at  this 
stage  I  pour  off  the  weak  developer,  as 
I  rinse  the  plate  and  commence  with  the 
normal  developer,  or  that  which  is  more 
concentrated  than  the  normal  developer,  and 
immediately  the  density  will  be  increased 
upon  the  negative.  I  would  also  say  here 
that  any  one  trying  this  must  have  his  wits 
about  him  and  his  eyes  wide  open  to  watch 
that  it  does  not  become  thickened,  otherwise 
there  will  be  an  unequal  negative,  and  con- 
sequently longer  printing  required.  If 
parties  are  careful  in  watching  when  they 
apply  this  concentrated  developer,  they  will 
bring  forth  the  picture  with  the  proper  den- 
sity of  color  needed  to  be  used  as  a  printing 
negative.  Now  this  will  take  a  very  con- 
siderable time  to  do,  but  you  must  have 
patience  and  go  through  sure  with  it. 
In  cases  of  this  kind  where  any  one  lacks 
the  patience,  or  has  not  got  the  time  to  go 
through  with  it,  they  are  just  where  they 
were  before.  They  took  negatives,  and  they 
have  not  got  anything.  I  should  also  state 
how  I  work  these  plates  from  an  opposite 
point,  and  here  I  would  like  to  make  this 
statement  to  this  audience.  And  any  one 
of  you  may  not  believe  it  unless  you  like  to. 
There  are  some  of  you  who  won't.  I  will 
expose  a  plate  and  give  you  a  print  from 
the  negative  which  will  have  the  appear- 
ance of  a  full-timed  negative,  and  you  may 
consider  it  is  over-timed;  and  I  will  take 
another  portion  of  that  same  plate  and  ex- 
pose it  a  thousand  times  longer  and  give 
you  the  two  prints,  and  you  will  not  tell 
me  which  is  the  longer-timed  or  which  is 
the  shorter-timed. 

Now,  if  I  have  a  plate  which  I  know  has 


256 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


been  timed  too  long,  I  proceed  in  this  way: 
Instead  of  taking  one  drachm  of  Bo.  1  and 
2  drachms  of  No.  2,  and  twenty  ounces  of 
water,  I  will  take  two  or  three  drachms  of 
No.  1,  which  is  the  pyro  solution,  as  you  all 
know,  and  I  will  take  perhaps  one-fourth 
or  one-half  drachm  of  No.  2,  which  is  the 
accelerator  of  potash,  and,  instead  of  using 
the  forty  ounces  of  water,  I  will  perhaps 
use  an  ounce  and  a  half.  By  this  means 
the  plate  is  developed  in  the  high  lights. 
The  lights  are  brought  forth,  and  the  den- 
sity is  got  over  rapidly  and  colored  and  the 
shadows  have  not  been  reached  yet,  and. 
before  I  get  down  to  the  shadows,  I  have 
sufficient  density  to  stop.  If  I  find  I  have 
not  put  in  quite  sufficient  of  the  accelerator, 
I  put  in  a  drop  or  two,  as  the  case  may  be ; 
it  will  immediately  respond  with  what  I 
want.  Therefore  I  advise  all  photographers 
to  give  one-half  of  the  whole  more  time  in 
exposure  than  what  is  necessary  for  the  ex- 
posure of  the  plate.  Then  begin  always 
with  an  excess  of  the  pyro  and  with  less  of 
the  accelerator,  reserving  in  your  own  hands 
the  accelerator  to  bring  forth  anything  that 
you  wish — that  is,  to  bring  forth  the  nega- 
tive to  the  point  that  you  consider  will 
make  the  best  negative.  If  you  happen  by 
any  means  to  under- time,  you  have  in  your 
hands  the  power  to  bring  forth  a  rich  yellow 
negative;  and, .if  you  have  over-timed,  you 
keep  a  reserve  in  your  hands ;  in  either 
case,  whether  it  be  over- or  under-timed,  by 
weakening  the  developer  in  one  case  and 
strengthening  it  in"the  other. 

Mr.  Bellsmith:  Mr.  President,  I  made  a 
discovery  once  by  accident.  In  a  hurry  I 
put  my  plate  into  the  tray,  mixed  my  de- 
veloper and  neglected  to  put  any  pyro  in 
the  solution,  and  put  the  developer  on  my 
plate,  and  let  it  stop  there  for  a  minute  and 
nothing  appeared. 

Mr.  Inglis  :  What  was  your  developer  be- 
fore you  put  your  pyro  in  ? 

Mr.  Bellsmith  :  Two  sodas  in  equal  parts 
— four  ounces  of  each  soda,  thirty  ounces  of 
water,  one  ounce  of  solution  to  six  ounces 
of  water,  and  after  keeping  the  soda  on  the 
plate  from  four  to  six  minutes,  I  saw  there 
was  no  evidence  of  its  appearing  so  I  threw 
it  out,  and  made  up  my  developer  and  I 
found  out  at  once  that  I  did  not  put  in  any 


pyro.  It  was  a  picture  of  a  child.  It  was 
very  short-timed  any  way,  and  after  putting 
in  the  pyro,  the  normal  developer,  the  pict- 
ure came  up,  and  I  made  a  full-timed  nega- 
tive from  the  original  negative.  I  would 
like  to  speak  of  that.  I  don't  know  whether 
there  is  anything  in  that,  or  whether  that 
system  could  be  adopted  on  short-timed 
negatives  or  not. 

Mr.  Taylor  :  That  is  strictly  analogous  to 
the  experience  of  Col.  Wortley. 

Mr.  Croughton  :  I  might  say  that  during 
the  last  eight  months  I  have  had  about  as 
hot  an  experience  at  development  as  any 
man  could  have  had  at  this  Convention.  I 
have  had  to  develop  negatives  in  the  heat 
of  June,  in  the  City  of  New  Orleans,  and 
my  practice  certainly  bears  out  what  Mr. 
Inglis  says.  In  England  we  have  a  prefer- 
ence for  the  ammonia  developer.  I  think 
that  if  the  subject  was  canvassed,  you  would 
find  that  eight  out  of  ten  use  the  ammonia 
pyro.  On  coming  to  this  country  I  found 
that  the  potash  pyro  had  just  been  intro- 
duced, and  was  meeting  with  favor.  The 
use  of  the  sulphite  of  soda  was  common  to 
a  far  greater  extent  than  it  was  on  the 
other  side  of  the  water.  I  remember  when 
I  left  there  that  the  controversy  with  refer- 
ence to  sulphite  of  soda  was  very  heated,  some 
saying  that  it  was  no  good,  and  others  argu- 
ing on  the  other  side.  When  I  went  to 
New  Orleans  the  potash  developer  was 
recommended.  I  had  never  used  it,  and 
was  sceptical  about  it.  I  tried  it  after  the 
same  idea  as  Mr.  Hoover's  developer — that 
is,  that  the  restrainer,  the  pyro,  and  the 
bromide  should  be  together  in  one  solution, 
and  the  accelerator  in  another.  Now  there 
are  some  members  of  this  Photographic 
Association  present,  who  will  say  that  that 
was  a  mistake  ;  that  if  you  put  the  bromide 
with  the  accelerator,  you  can  have  no  con- 
trol over  the  developer.  If  you  put  the 
bromide  with  the  pyro,  then  you  have  both 
a  restrainer  and  an  intensifier  together. 
You  use  then  the  accelerator  whether  potash 
or  ammonia  at  your  discretion,  and  have  ab- 
solute control  over  your  negative. 

When  I  saw  Mr.  Hoover  himself  make 
up  the  pyro  potash  developer,  and  use  such 
a  large  amount  of  sulphite  of  soda',  I  asked 
the  reason,  and  he  told  me  that  after  a  series 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


257 


of  exhaustive  experiments  that  he  had  de- 
cided that  the  sulphite  of  soda  was  of  no 
use  as  a  developer  unless  used  four  to  one — 
that  is,  four  of  the  sulphite  of  soda  to  one 
of  the  pyro.  Well,  gentlemen,  I  have  used 
that  now  for  nearly  eight  months,  develop- 
ing all  day  long,  and  far  into  the  night 
sometimes  (occasionally  three  nights  a 
week  until  twelve  o'clock  at  night),  and  I 
have  modified  it  in  every  way  from  the 
formula,  but  only  to  return  to  the  convic- 
tion that  Mr.  Hoover  is  right,  that  the  sul- 
phite of  soda  in  that  proportion,  four  to  one, 
is  best.  I  have  published  my  experience  in 
the  Philadelphia  Photographer,  which 
is  exactly  coincident  with  Mr.  Inglis's.  I 
exposed  a  plate,  and  made  a  very  difficult 
experiment.  The  plate  had  to  be  exposed 
at  the  dinner-hour  as  that  was  the  only  time 
during  which  the  machinery  was  still.  We 
made  five  exposures  on  that  machinery, 
every  one  was  undertimed.  The  reason 
was  on  account  of  the  want  of  light.  The 
plate  could  not  be  exposed  for  the  proper 
length  of  time.  The  only  way  that  I  could 
succeed  in  getting  over  this  difficulty,  and 
taking  the  picture  of  that  machine  was  to 
use  four  times  the  amount  of  accelerator  to 
one  of  pyro,  put  water  and  water  into  the 
dish  until  my  dish  overflowed  with  water, 
and  it  took  three-quarters  of  an  hour  to  de- 
velop. The  result  was  exactly  as  if  that 
negative  bad  been  full-timed,  even  into  the 
deepest  shadows,  and  even  the  lines  of  the 
matched  boards  showed  very  plainly  on 
the  negative.  That  is  the  way  Mr.  Inglis 
means  when  he  offers  to  give  you  one  expo- 
sure, and  then  give  you  another  a  thousand 
times  as  long,  and  give  you  two  plates  iden- 
tical. He  means  he  will  give  you  one- 
thousandths  of  a  second  exposure,  and  de- 
velop in  that  way,  and  then  he  will  give 
you  a  second's  exposure,  and  give  you  two 
negatives  identically  the  same.  That  is 
scarcely  fair. 

Mr.  Inglis  :  That  is  fair  sometimes. 

Mr.  Croughton  :  In  my  experience,  gen- 
tlemen, I  think  that  the  direct  tendency  of 
the  use  of  the  dry  plate  is  to  underexpose. 
Where  you  underexpose  you  may  get  a  good 
result,  although  you  may  not  get  a  first- 
class  result.  My  experience  is  based  upon 
the  exposing  of  plates  which  were  developed 


in  New  Orleans.  If  you  want  to  get  the 
full  normal  development  in  this  way,  you 
get  as  good  a  result  as  if  you  gave  time 
enough  to  reduce  your  accelerator  one-half. 
I  would  rather  have  an  overtimed  plate,  and 
reduce  the  accelerator,  increasing  the  pyro 
and  restrainer  by  far.  You  get  all  of  the  de- 
tail that  is  necessary,  and  you  may  get  an 
effect  that  you  do  not  get  with  a  plate  that 
would  require  the  normal  exposure.  I  think 
the  great  fault  is  underexposure.  We  get 
so  used  to  the  rapidity  of  these  plates,  we 
think  that  they  can  do  more  than  they  can. 
In  this  way  you  do  not  get  good  results.  It 
was  continually  impressed  upon  our  ope- 
rators that  whatever  they  did  they  should 
not  underexpose.  You  had  better  overex- 
pose and  then  do  as  suggested.  I  think  you 
may  get  a  good  picture  with  overexposure  ; 
you  can  never  do  anything  with  an  under- 
exposed one. 

Mr.  Mawdsley,  being  called  for  by  many, 
said  :  I  can  mainly  speak  in  confirmation  of 
what  Mr.  Inglis  and  Mr.  Croughton  have 
said.  My  own  experience  when  I  have  had 
a  very  rapid  exposure  has  been  the  same.  I 
have  done  a  great  deal  in  the  line  of  instan- 
taneous photography  with  gelatine  plates. 
I  have  found  by  endeavoring  to  force  the- 
development  by  the  addition  of  a  large- 
amount  of  the  accelerator  I  got  discolored 
negatives.  That  although  they  might  first 
look  tolerably  well,  yet  after  being  kept 
they  were  very  much  deteriorated  by  a  very 
deep  color.  Then  I  tried  the  effect  of  di- 
luting the  developer,  and  I  think  I  went  to 
a  greater  extent  than  Mr.  Croughton  says. 
When  I  had  a  plate  with  a  minimum  expo- 
sure my  method  of  treatment  was  this :  I 
took  a  slight  quantity  of  the  normal  devel- 
oper that  I  diluted  with  twenty,  thirty,  or 
forty  volumes  of  water,  simply  putting  my 
plate  in  a  tray  covering  it  up,  and  leaving- 
it  to  take  care  of  itself,  knowing  very  well 
that  my  duties  took  me  elsewhere  when  de- 
veloping other  plates,  and  when  these  were 
finished  I  could  return  and  find  a  really 
first-class  negative.  Now,  on  the  question 
of  exposures  I  do  not  quite  agree  altogether 
with  Mr.  Croughton.  I  think  that  there  is 
a  right  exposure  for  all  plates  ;  being  a  right 
exposure  I  say  the  normal  developer  should 
give  the  best  results.     We  have  got  to  con- 


17 


258 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


sider  this  question  of  the  exposure.  I  think 
in  the  matter  before  us  that  the  difficulties 
are  very  small  indeed.  It  is  a  matter  of 
judgment  in  the  case  of  the  camera  exposure ; 
with  the  light  the  same.  That  is  what  I 
mean  to  say,  we  have  the  control  of  it.  If 
you  watch  it  thoroughly  you  can  work  it. 
The  only  factor  which  gives  rise  to  uncer- 
tainty is  the  power  to  light;  that  is  the 
unit,  and  the  only  one  to  be  taken  into  con- 
sideration, but  having  hit  upon  that  I  con- 
sider the  normal  developer  sent  out  by  the 
platemakers  ought  to  be  the  best,  as  they 
try  their  plates  under  crucial  conditions. 
With  the  proper  exposure  it  will  give  the 
'best  results.  All  these  other  things  are 
premises ;  if  you  have  not  had  the  experi- 
ence you  must  try  them,  and  do  it  in  such 
a  manner  as  to  get  the  results.  Therefore, 
as  I  said  before,  it  is  a  premise,  and  the  re- 
sult may  be  fairly  satisfactory  or  not.  Of 
course,  certain  results  can  only  be  attained 
and  arrived  at  from  experiments. 

Come  again  to  the  question  of  overexpo- 
sure. There  again  I  agree  with  what  Mr. 
Inglis  and  Mr.  Croughton  said.  I  should 
indulge,  I  think,  very  much  in  the  use  of 
the  pyro,  and  also  the  bromide  as  a  restrainer, 
adding  ammonia  as  the  occasion  requires. 
That  is  for  my  own  use  in  the  gallery,  but 
when  you  come  to  landscape  photography 
there  is  a  difference  between  your  camera 
exposures:  it  is  not  merely  the  power  of 
light,  but  the  light  varies  so  much,  and 
there  are  so  many  different  conditions.  In 
one  case  you  may  be  working  on  the  sea 
shore,  and  there  you  have  the  sun  reflected, 
and  everything  favorable  to  a  very  short 
exposure.  Again,  under  other  circumstances 
you  may  be  working  in  a  glen  or  in  a  gorge 
where  the  angle  is  very  short,  and  the  light 
most  powerful  from  above  but  tremendous 
shadows  ;  this  will  necessitate  a  longer  expo- 
sure. The  shadows  are  so  tremendous  and 
intensified  in  that  case,  the  development  is 
all  important ;  it  is  imperative  that  you 
should  feel  the  way,  beginning  with  a  weak 
developer,  and  trying  your  details.  If  you 
find  trouble  arises,  it  is  easy  to  wash  off 
and  mix  a  stronger  developer. 

Mr.  Cooper :  Mr.  President,  I  am  afraid 
I  cannot  express  myself  quite  as  loudly  as  I 
would   like   to.      I   have   been   talking   so 


much  for  the  last  two  or  three  days,  that  it 
is  almost  impossible  for  me  to  hear  myself 
think,  much  less  to  speak.  But  the  topic 
suggested  from  the  letter  of  Col.  Stuart 
Wortley  is  something  which  has  engaged 
my  attention  for  quite  a  long  period  of  time. 
Almost  during  the  whole  of  my  experience 
in  development,  I  have  aimed  to  find  some 
method  by  which  the  exposure  of  the  plat€ 
might  be  reduced  to  the  minimum,  but  at 
the  same  time  get  out  all  that  we  possibly 
could.  I  found  on  one  occasion  that  the 
addition  of  an  alkali  decidedly  accelerated, 
but  it  needed  to  be  a  solution  decidedly,  and 
it  set  me  to  thinking.  First  of  all,  I  attrib- 
uted it  entirely  to  the  alkali  On  one  occa- 
sion I  found,  by  taking  a  negative  which 
had  been  exposed  with  a  drop  shutter,  with 
two  lenses  of  absolutely  equal  illuminating 
power,  that  I  could  wash  one  negative  very 
thoroughly  in  running  water  and  get  from 
that  one  twice  the  exposure  that  I  could 
from  the  other  that  had  not  been  washed. 
That  set  me  to  thinking.  I  found  further 
that,  if  I  took  a  plate  in  the  dark-room  and 
smelt  it,  ordinarily  there  was  no  odor  at 
all ;  if  I  took  that  plate  out  of  the  dark-room 
and  exposed  it  to  the  light  and  then  smelt 
of  it,  there  was  no  odor  present;  if  I 
dampened  that  plate,  in  a  short  time  there 
was  a  very  strong  odor  of  bromine  present. 
It  suggested  to  me  the  question,  How  can 
the  odor  of  bromine  exist  if  bromine  is  not 
liberated,  because  we  know  that  there  is  no 
free  bromide  in  the  plate  ?  Then  the  idea 
came  to  me  that  the  action  of  the  water  on 
the  bromide  of  silver  plate  was  to  liberate 
the  bromine.  Then  it  came  to  my  mind 
that  the  reason  that  an  alkali  had  this  ac- 
celerated action  was  that  it  took  up  the  free 
bromine  which  had  been  liberated  by  the 
light,  and  formed  in  its  chemical  character 
or  transferred  it  into  a  bromide,  and  the 
bromide,  which,  being  very  soluble  in  water, 
would  be  very  readily  washed  away.  The 
consequence  was,  I  adopted  that  method  of 
treating  the  plate  with  the  alkali,  and  then 
washing  it.  You  can  treat  it  with  the 
alkali,  gentlemen,  and  not  wash  it,  and  you 
will  get  an  accelerated  action ;  treat  it 
without  alkali  and  then  wash  it,  and  your 
accelerated  action  is  double.  I  demonstrated 
that  fact  unquestionably  in  the  upper  por- 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


259 


tion  of  the  store  of  Messrs.  Anthony  &  Co  , 
in  New  York,  and  showed  conclusively,  be- 
fore one  of  the  best  experts  that  they  have 
got  in  the  dry-plate  business — that  is,  Mr. 
T.  C.  Eoche — that  the  thing  could  be  done. 
This  was  done  in  the  presence  of  an  amateur 
who  was  extremely  enthusiastic ;  he  was 
here  the  other  day  ;  he  insisted  it  could  not 
be  done.  I  went  up  stairs  and  in  his  pres- 
ence I  exposed  some  plates  with  the  drop 
shutter  on.  It  was  an  extremely  stormy 
May  day;  it  was  raining;  and  the  rain 
came  down  in  torrents.  I  said,  I  will  see  if 
it  is  possible  to  cover  up  one-half  of  the 
negative  treated  with  soda  and  then  develop. 
This  was  done.  The  consequence  was,  one 
negative  full  time,  and  the  other  was  not 
one-third  timed.  Mr.  Roche  came  in ;  I 
showed  him  the  negatives  that  were  made. 
He  said  that  it  was  impossible ;  that  we 
could  not  fool  him;  that  he  knew  better; 
that  such  a  thing  could  not  be  done.  Says 
"  he,  "I  have  got  some  plates  in  the  holder 
up  stairs  that  I  know  about,  and  there  is  no 
fooling  me.  "We  will  go  up-stairs,  you  take 
one  and  I  take  the  other,  and  see  how  it 
will  result."  There  was  nothing  on  one 
plate,  and  on  the  other  a  full-timed  nega- 
tive. I  demonstrated  and  experimented 
further,  and  found  that,  by  the  simple  addi- 
tion of  soda  or  any  other  alkali,  it  most  de- 
cidedly accelerated;  that  the  washing  was 
not  to  remove  that  which  had  been  changed 
into  a  more  simple  compound  than  was  re- 
moved from  the  film.  The  point  is  this : 
If  there  is  any  such  thing  as  a  restrainer  in 
a  film,  it  stands  to  reason  the  action  of  light 
is  to  restrain  it.  By  removing  it  entirely 
you  have  no  restrainer,  and  the  consequence 
is,  you  get  a  full-timed  negative.  If  that 
negative  is  as  full-timed  as  the  capacity  of 
the  plate  will  allow,  so  much  for  that  part 
of  it.     (Applause.) 

Now  with  reference  to  the  idea  of  a  weak, 
diluted  developer,  I  have  a  concentrated 
formula — and  I  am  not  saying  this  for  an 
advertisement,  as  I  have  nothing  for  sale ;  I 
am  merely  giving  you  my  experience.  I 
do  not  make  it,  and  I  do  not  ask  any  one  to 
buy  it.  I  have  a  concentrated  developer, 
and,  of  course,  I  know  what  power  I  have. 
I  know  the  kind  of  plate  that  I  put  into  it. 
I  use  the  developer  in  its  concentrated  form. 


In  using  it,  I  have  found  that  it  facilitates 
matters  to  develop  several  plates  in  the  dish 
at  once.  My  formula  calls  for  one  ounce  of 
the  concentrated  solution  and  three  ounces 
of  water.  That  is  the  ordinary  developer  I 
use  for  a  very  large  plate.  I  develop  a 
large  number,  and  in  doing  so  I  use  two 
ounces  of  the  concentrated  solution  and 
thirty-six  ounces  of  water.  A  sort  of 
homoeopathic  mixture — that  is,  a  sixth  di- 
lution, six  times  diluted.  By  that  means 
the  developer  works  a  great  deal  better,  and 
you  can  control  it,  and  develop  ten  or  twelve 
negatives  at  once.  Examine  them  occa- 
sionally. If  the  first  one  is  not  sufficiently 
developed,  allow  it  to  remain  and  try  another 
one;  see  what  you  have  got  on  that.  I 
get  good  results  thus.  I  heard  Mr.  Inglis 
say  that  it  was  not  advisable  to  use  a  weak 
developer.  I  think  that  is  what  I  heard 
him  say  when  I  was  coming  into  the  room. 
I  certainly  disagree  with  him,  for  it  has 
been  my  experience  that  that  is,  by  all  odds, 
the  nicest  way  to  work.  In  regard  to  the 
matter  of  exposures,  Mr.  Mawdsley,  I  think, 
took  a  little  issue  with  Mr.  Croughton  on 
the  proper  exposure  of  the  plate.  We  have 
got  to  use  some  judgment.  The  judgment 
of  a  man  has  got  a  great  deal  to  do  with  it. 
And  there  is  many  a  man  who  can  find  out 
the  difficulty,  who  can  manage  the  light 
very  nicel3T,  and  determine  what  kind  of 
light  to  use  with  a  certain  kind  of  plate 
which  will  work  in  such  a  time;  but  the 
conditions  are  entirely  changed  when  you 
have  to  depend  upon  the  subject  you  are 
going  to  photograph.  "When  you  photo- 
graph one  thing,  one  plate  of  a  certain  de- 
gree of  rapidity  is  excellent,  and  will  do  its 
work  beautifully  in  a  second  or  a  fraction 
of  a  second.  Take  identically  the  same 
light ;  turn  your  camera  around  in  another 
direction,  and  the  circumstances  are  alto- 
gether altered.  And  you  will  have  to 
change  your  method  of  developing  to  get 
the  best  results.  Your  results  vary  with  the 
degree  of  common  sense  you  use  as  to  the 
time  of  your  exposure.  I  do  not  know  that 
there  is  any  such  thing  as  a  rule  which  you 
can  lay  down  absolutely  to  fix  the  correct 
amount  of  exposure.  I  don't  believe  it  ex- 
ists.    (Applause.) 

Many  an  amateur  has  said  to  me,  "  What 


2ti0 


THE    PHILADELPHIA    PHOTOGRAPHER. 


do  you  think  is  the  best  method  of  deter- 
mining how  much  time  I  should  give  my 
plate?"  That  depends,  my  friend.  It  de- 
pends entirely  upon  what  your  plate  is  first ; 
then,  next,  upon  what  you  are  going  to 
photograph.  I  went  to  Niagara  Falls  once, 
and  I  saw  an  amateur  there,  a  party  with 
whom  1  was  very  well  acquainted,  who  had 
started  out  to  make  a  view  of  the  Tails. 
You,  gentlemen,  have  been  down  there,  and 
have  seen  the  results  obtained  by  the  pho- 
tographers there.  You  might  think  that 
you  could  go  there  and  obtain  the  same  re- 
sults yourself;  but,  if  you  would  try  it,  I 
think  you  would  be  willing  to  admit  they 
would  be  very  far  short  from  what  you  saw 
there.  There  is  no  question  about  that. 
Still  we  went  out,  and  I  have  this  much  to 
say :  that  I  am  particularly  and  deeply  in- 
debted to  the  photographers  of  Niagara 
Falls,  and  I  want  to  pay  them  this  tribute: 
that  they  are  the  men  who  possess  no  pro- 
fessional jealousies  for  outside  photographers, 
even  if  they  do  for  those  around  them. 
There  was  not  a  man  there  who  was  not 
willing  to  take  me  and  show  me  the  points 
from  which  I  could  get  the  very  best  view 
to  make  a  picture,  and  they  said,  "This  is 
just  the  right  light,  and  the  wind  is  just 
right;  you  can  secure  your  picture  now." 
For  it  is  a  fact  that  at  some  hours  of  the  day 
the  wind  is  in  such  a  direction  that  it  raises 
a  mist,  and  all  you  get  is  a  fog,  and  no  view 
of  the  Falls. 

The  gentleman  I  was  speaking  of  when  I 
turned  my  camera  towards  the  light  (the 
scene  was  over  in  a  cloudy  sky,  and  the 
camera  facing  the  sun),  said:  "  You  don't 
mean  to  say  you  are  going  to  photograph 
like  that?"  I  replied  "I  do."  "Well," 
said  he,  "  what  do  you  expect  to  get?  "  I 
answered  him  that  "  I  expected  to  make  a 
good  picture  I  hoped."  "Well,"  said  he, 
"is  that  going  according  to  the  rules  laid 
down  in  photography  ?  "  I  said,  "  I  do  not 
know,  but  that  there  was  a  rule  that  suited 
me,  and  that  rule  was  that  I  should  make 
that  picture  in  that  way."  It  was  an  icy 
scene  that  I  wanted  to  make;  the  light 
passing  over  the  ice.  Said  I,  "that  suits 
me  for  a  picture."  He  said,  "  you  are  going 
to  fog  your  plate."  I  replied,  "  I  shall  if  I 
don't  look  out."     I  pulled  my  slide,  and  I 


held  my  hat  above  the  lens  towards  the  sun 
so  that  the  sun  would  not  strike  the  lens, 
and  I  made  the  picture,  and  I  went  a  little 
while  after  and  developed  it.  "Well," 
said  he,  "  that  astonishes  me,  and  I  have 
learned  something,"  and  I  have  no  doubt  it 
was  a  revelation  to  him.  I  had  turned  the 
camera  towards  the  light,  and  I  made  my 
picture.  I  tell  you  this  because  it  is  some- 
times very  difficult  on  account  of  the  con- 
dition of  the  light  at  Niagara  Falls  to  get 
any  picture.  It  is  rather  singular,  but  there 
is  a  vibration  of  the  light  there  that  don't 
seem  to  exist  anywhere  else.  The  light 
seems  to  be  sometimes  two  or  three  times  as 
rapid  as  that  found  anywhere  else.  Well, 
I  made  aJJ.  my  exposures  for  pictures  (they 
were  of  icy  scenery)  with  a  drop  shutter.  I 
took  pretty  good  care  even  in  that  case  to 
use  the  diaphragm  sufficiently  large  so  that 
I  could  get  plenty  of  time  on  it,  and  then  I 
developed  with  a  pretty  strong  developer 
with  a  very  strong  solution  with  a  propor- 
tion of  pyrogallic  in  it.  I  find  a  great  many 
amateurs  run  away  with  the  impression  that 
if  you  have  an  instantaneous  exposure  you 
want  to  use  plenty  of  pyrogallic  solution. 
I  have  not  found  it  so.  I  found  I  could 
take  a  plate  that  had  been  very  short-timed, 
and  with  a  little  brush  and  a  little  dish  of 
pyrogallic  solution,  I  could  start  up  the 
shadows  instantaneously.  That  showed  me 
that  there  was  no  theory  about  it.  There 
was  no  mistake  about  it.  It  was  apparent 
to  the  eye.  I  have  adopted  this  method  for 
use  at  the  Falls  and  I  intend  to  use  it  in  all 
cases  where  I  am  engaged  in  working  as 
described.  I  use  plenty  of  pyro,  and  this 
you  must  do  when  you  have  very  short- 
timed  negatives,  especially  an  instantaneous 
picture.  If  I  was  not  afraid  of  taking  up 
your  time  I  would  make  some  remarks  rela- 
tive to  the  exposure  of  the  plate.  (Cries 
were  then  heard  from  all  parts  of  the  hall 
for  the  speaker  to  go  on.) 

Mr.  Cooper  then  continued  as  follows :  In 
regard  to  instantaneous  exposures  of  plates 
I  would  say  that  there  are  two.  methods  by 
which  exceedingly  fine  results  can  be  ob- 
tained. I  call  attention  to  the  fact  that 
under  certain  concitions  we  have  a  bril- 
liancy of  light  and  intensity  of  the  shadows 
necessitating  a  particular  kind  of  develop- 


THE    PHILADELPHIA    PHOTOGrEAPHEE. 


261 


ment.  Where,  as  I  said  before,  the  pictures 
are  made  in  a  glen  for  example.  Now,  with 
that  object  in  view  I  designed  a  shutter, 
which  is  on  the  market  to-day,  but  not  in 
my  own  name,  so  I  cannot  be  accused  of 
taking  any  undue  advantage  to  advertise  it. 
I  invented  it,  and  called  it  the  "  light  devel- 
oping shutter."  It  is  designed  for  the  pur- 
pose of  allowing  a  longer  exposure  for  the 
shadows,  and  a  less  exposure  for  the  high 
lights.  With  this  shutter  I  obtain  the  re- 
sult that  I  desire,  and  the  sky  is  cut  off  as 
much  as  it  is  possible.  Several  parties  asked 
me  how  I  would  do  in  a  case  where  the  con- 
ditions were  quite  reversed — that  is,  where 
the  light  parts  were  below  and  the  shadows 
above,  for  example,  if  I  was  going  down 
the  river  in  a  boat  on  the  Hudson  making 
a  picture  of  the  Palisades  and  the  highly 
illuminated  water  below.  If  those  were  the 
conditions,  I  tuould  reverse  the  shutter. 
Thus,  the  smallest  degree  of  light,  or  the 
least  illumination,  would  be  thrown  on  the 
water;  while  the  greatest  illumination 
would  be  thrown  on  the  foliage  or  upper 
part.  I  think  that  there  have  been  pictures 
made  in  that  direction  fully  carrying  out 
my  views,  and  I  hold  it  has  been  fully 
demonstrated  that  it  is  not  simply  a  theory, 
but  a  demonstrated  fact.     Applause. 

Mr.  Inglis :  With  the  concentrated  de- 
veloper or  the  developer  which  is  spoken  of 
by  Mr.  Cooper,  I  have  another  thought 
which  brings  me  up  once  more.  Of  course, 
if  I  have  understood  him  aright,  it  is  in 
contradiction  to  what  I  said.  He  advises 
the  use  of  the  pyro.  Perhaps  he  did  not 
hear  what  I  said  in  the  beginning.  The 
remarks  I  may  make,  and  the  remarks  that 
any  other  one  may  make  might  conflict  en- 
tirely, if  we  do  not  operate  upon  the  same 
line  all  the  way  through.  Therefore,  it  is 
necessary,  gentlemen,  to  take  into  consid- 
eration what  accelerator  is  used,  whether  it 
be  ammonia,  whether  it  be  potash,  or 
whether  it  be  soda.  I  think  there  is  a  dif- 
ference in  the  action  that  goes  on,  whether 
it  is  the  one  or  the  other.  In  the  remarks 
that  I  made  I  would  say  they  applied  only 
to  potash  as  the  accelerator.  I  have  a  plate 
adapted  to  the  use  of  the  carbonate  of  soda 
as  an  accelerator.  I  did  not  intend  to  say 
anything  about  it.    I  will  say  this  one  thing, 


however,  that  I  have  to  work  in  almost  the 
opposite  direction  since  I  have  adopted  the 
use  of  the  salt  of  soda,  from  what  I  had  to 
do  with  the  potash.  Therefore,  it  is  neces- 
sary to  take  into  consideration  the  accel- 
erator. 

Mr.  Gardner  :  I  would  like  to  ask  some 
old  operator  if  it  is  possible  to  develop  a 
plate  with  the  pyro  solution  only. 

Mr.  Inglis :  JSTo. 

Mr.  Cooper:  It  depends  upon  how  your 
pyro  solution  is  made.  If  you  make  your 
pyro  solution,  as  it  is  called,  with  alcohol, 
you  can.  If  you  make  it  up  as  an  acid  pre- 
servative, you  cannot ;  if  you  make  it  up 
with  the  sulphite  as  a  preservative,  you  very 
decidedly  can.  I  think  that  there  is  more 
than  one  man  who  can  say  the  same  thing, 
provided  you  give  time  enough.  That 
would  be  so  in  any  case. 

Mr.  Cooper  :  I  think  that  I  will  relate  to 
you  a  very  amusing  incident  with  regard  to 
my  experience  with  a  photographer  in  that 
respect.  He  was  going  to  make  an  expo- 
sure in  his  camera.  He  did  so  and  on  de- 
velopment he  found  it  impossible  to  get  the 
shutter  up  because  the  camera  had  been  de- 
fective. Light  was  admitted  to  it,  so  he 
had  considerable  trouble  simply  because 
there  was  too  much  light  on  the  plate.  He 
said,  cannot  you  restrain  the  shadows  ? 
There  would  be  some  difficulty  with  a 
plate  of  that  kind  from  over-exposure  to 
"  restrain  the  shadows." 

Mr.  Cramer.  I  would  like  to  ask  Mr. 
Cooper  if  he  means  an  instantaneous  drop 
shutter  exposure  can  be  developed  by  add- 
ing more  pyro  solution  to  the  ordinary  de- 
veloper. 

Mr.  Cooper  :  Yes  sir. 

Mr.  Cramer :  I  would  like  to  ask  if  he 
means  to  add  more  of  the  solution  to  the 
developer  containing  alkali. 

Mr.  Cooper:  I  refer  to  the  pyrogallic 
acid  solution  only.  The  combination  with 
the  solution  of  acid  in  the  proportion  in 
which  I  use  it  is  this :  eight  to  one.  There 
is  no  bromide.  I  would  say  further  that  it 
is  quite  alkaline. 

Mr.  Cramer :  It  conflicts  with  my  experi- 
ence ;  I  am  not  using  any  restrainer  in 
bromide. 

Mr.  Cooper  :  You  are  using  an  acid. 


262 


THE    PHILADELPHIA    PHOTOG- EAPHEP. 


Mr.  Cramer :  Salicylous  acid  and  bromic 
acid  I  regard  as  perfectly  neutral  substances ; 
pyrogallic  acid  is  also  called  an  acid,  but  it 
is  also  neutral.  Salicylous  acid  has  no  effect 
except  its  action  on  the  pyro. 

Mr.  Cooper:  Its  object  is  to  preserve  the 
pyro. 

Mr.  Camer  :  The  solution  keeps  so  much 
longer. 

Mr.  Cooper:  I  have  no  doubt  but  that  is 
the  experience  of  the  great  majority.  I 
myself  have  found  that  to  be  the  case,  that 
there  really  exists  no  necessity  whatever  for 
any  acid  at  all.  There  are  gentlemen  who 
have  seen  the  concentrated  developer  which 
1  have  put  up  while  at  Messrs.  Anthony  & 
Co.'s,  which  would  keep  six  months  when 
the  sulphite  was  CDmbined  with  no  acid 
whatever,  but  a  very  large  proportion  in 
that,  a  full  proportion  is  in  the  concentrated 
form. 

Mr.  Cramer:  You  are  perfectly  right  in 
that.  The  concentrated  solution  will  keep 
also.  I  have  mixed  an  alkali  developed 
ready  for  use  with  no  concentrated  solution 
in  it  in  very  little  water;  you  can  keep  it  a 
long  time. 

Mr.  Cooper :  There  is  no  question  about 
that,  because  it  is  quite  as  good  as  if  it  had 
some  water.  You  get  more  oxygen.  The 
oxygen  is  taken  up,  out  of  the  water,  un- 
questionably. 

Mr.  Cramer:  The  sulphite  of  soda  itself 
is  used  in  solution. 

Mr.  Cooper :  That  is  my  reason  for  pre- 
ferring the  concentrated  solution. 

Mr.  Cramer  :  I  wish  to  state  that  my  ex- 
perience is  that  the  pyro  developer  also  in- 
creases the  contrast ;  this  is  so  in  every  case. 
If  the  picture  is  over-exposed  throw  in  a 
little  more  pyro,  and  you  will  get  a  strong 
picture,  whereas  otherwise  you  would  have 
only  a  flat  picture  without  any  contrast. 

Mr.  Cooper  :  You  refer  to  portraits. 

Mr.  Cramer  :  I  don't  see  where  the  dif- 
ference would  come  in. 

Mr.  Cooper:  I  will  tell  you  where  the 
difference  would  come  in.  You  are  per- 
fectly right  in  your  statement,  but  I  am 
speaking  of  instantaneous  exposures. 

Mr.  Cramer  :  The  question  has  been  asked 
if  pyrogallic  acid  alone  would  develop  the 
picture,  and  it  has  been  decided  that  it  will 


not,  except  when  in  combination  with  an 
alkali  it  will  develop.  Mr.  Cooper  has 
stated  that  it  also  will  do  so  in  combination 
with  the  sulphite  of  soda.  That  is  for  the 
simple  reason  that  the  sulphite  of  soda, 
which  we  get  in  commerce,  is  also  an  alkali. 
It  contains  a  trace  of  the  carbonate  of  soda. 
A  sulphite  of  soda  itself  will  not  make  the 
pyro  develop,  but  sulphite  of  soda  in  com- 
bination with  pyro  alone,  will  not  develop 
unless  it  is  alkali. 

Mr.    Cooper :    I    thoroughly    agree    with 
you  unquestionably. 

Mr.  Cramer:  I  believe  that  we  will  agree 
in  many  things  after  awhile. 

Mr.  Cooper :  Mr.  Cramer  and  myself 
have  joined  our  issues,  and  he  thorough^ 
agrees  with  me.  You  will  recognize  this 
fact  that  my  statement,  as  I  said  before, 
while  Mr.  Cramer  has  thought  of  many 
things,  he  has  forgotten  to  take  into  consid- 
eration the  exposure  of  the  picture  in  which 
all  the  conditions  are  equal  all  over  the 
plate.  Now,  I  am  able  not  only  to  develop 
a  plate  to  a  certain  extent,  in  my  poor 
scientific  way,  but  also  to  try  mechanically 
a  method  by  which  I  control  my  picture. 
I  will  admit  that  if  I  attempted  to  develop 
a  picture  that  had  been  exposed  with  ordi- 
nary dark  shutters,  so  that  I  could  give  as 
much  time  as  I  would  like,  I  could  use  the 
pyro,  and  the  acid  would  destroy  my  result : 
but  by  reason  of  the  fact  that  I  have  so 
completely  removed  the  tendency  to  the 
hardness  in  the  sky,  I  am  enabled  to  ex- 
periment on  my  shadows  with  the  result 
that  I  get  far  more  out  of  them  without 
spoiling  my  sky  or  intensifying  those  high 
lights  than  I  otherwise  could.  You  see  the 
point,  gentlemen  ;  it  is  quite  plain. 

Mr.  Inglis :  I  think  I  shall  have  to  get 
up  again.  I  think  that  Mr.  Cooper  now 
agrees  with  Mr.  Cramer,  and  that  I  agree 
with  both,  notwithstanding  what  I  said 
before. 

A  member :  I  would  like  to  ask  Mr. 
Cooper  if  he  used  instead  of  the  pyro  alone 
a  little  fresh  developer  with  the  accelerator 
it  would  not  have  the  same  action?  My 
experience  is  that  the  pyro  loses  its  power 
as  a  developer.  It  seems  to  me  that  a  little 
fresh  developer  would  have  a  better  action 
than  the  pyro  alone. 


THE    PHILADELPHIA    PHOTOGRAPHER 


263 


Mr.  Cooper :  A  little  fresh  developer  no 
doubt  would.  But  I  never  found  that  it 
made  a  great  deal  of  difference.  I  am  will- 
ing to  admit  that  it  is  quite  possible  it 
would,  but  I  prefer  using  the  pyro  alone  in 
these  cases.  I  almost  invariably,  as  I  said 
before,  apply  it  locally  ;  that  is,  I  have  my 
dish  ready  and  my  ordinary  developer ; 
upon  using  this  I  take  my  brush  and  apply 
it  locally  where  it  is  needed.  The  pyro  so- 
lution contains  a  large  proportion  of  alkali 
in  itself,  and,  at  the  same  time,  it  also  comes 
in  contact  with  a  strong  solution  of  soda, 
which  has  found  its  way  into  and  has  satu- 
rated the  film.  All  I  wanted  was  to  in- 
crease the  intensity  in  that  locality.  Let 
me  say  that  I  do  not  use  in  this  case  the  full 
proportion  of  soda.  The  point  was  just  this, 
I  did  not  find  that  there  was  anything  to  be 
gained  by  the  addition  of  the  soda  and  the 
pyro  also.  Let  me  say  further,  that  the 
gentleman  said,  the  pyro  is  rapidly  used  up. 
That  is  the  reason  I  put  it  in.  Because  the 
first  has  gone,  and  I  have  lost  its  power,  the 
other  was  needed  to  supply  its  place.  I  did 
not  need  any  more  soda.  The  soda  was 
there  and  was  doing  its  work.  The  other 
was  needed  to  supply  the  place  of  that  which 
had  gone. 

Mr.  Cramer:  I  am  right  that  the  treat- 
ment was  upon  a  shortly  exposed  plate. 
You  need  not  push  the  development  too 
far  with  your  developer,  but  make  a  new 
solution,  and  apply  it  so  that  the  pyro 
gives  an  action.  Again,  the  sulphite  of 
soda,  according  to  my  experience,  and  the 
views  of  the  journals,  has  the  effect  of 
destroying  the  yellow  color  which  would 
be  otherwise  produced  by  the  sal-soda  or 
the  potassium  developer.  And  you  can 
control  the  color  entirely  by  using  more  or 
less  of  the  sulphite  of  soda.  The  more  sul- 
phite of  soda  used,  the  more  proper  tone  of 
the  negative  will  be  reached  ;  and  the  less 
of  it  used,  the  more  yellow  the  negative  will 
be.  I  am  astonished  to  see  the  ammonia 
developer  recommended  again,  in  the  for- 
mulas from'  abroad  and  from  Col.  Stuart 
"Wortley.  I  think  since  we  have  done  away 
with  the  use  of  ammonia  we  do  not  get  any 
more  green  fog,  which  used  to  be  a  very 
unpleasant  defect  in  connection  with  the 
use  of  the   ammonia  developer.     Further- 


more, I  do  not  consider  it  wise  to  use  the 
free  solution  separate.  It  is  true,  if  you 
combine  the  alkali  that  you  destroy  the  ac- 
celerating effect  of  the  solution  also  by  re- 
straining. But  you  will  also  prevent  the 
fog.  It  would  be  because  of  an  excess  of 
the  alkali,  which  will  be  invariably  pro- 
duced by  adding  an  excess  of  ammonia  to 
the  developer.  Your  negative  will  be 
saved.  You  rescue  that.  The  way  of 
measuring  out  so  many  minims  of  this  so- 
lution and  so  many  mimims  of  the  other 
three  solutions  for  each  negative  is,  in  my 
eyes,  a  little  too  complicated.  We  like  to 
accomplish  everything  by  the  most  simple 
means.  And  in  either  the  pyro,  sal  soda, 
or  potassium  developer  we  have  all  the 
means  in  our  power  to  correct  over  or  under 
exposure.  My  idea  is  to  use  a  solution  of 
sal  soda  that  is  alkaline  ;  potassium  may  be 
just  as  good  in  the  same  strength  for  ordi- 
nary purposes,  the  only  difference  being  in 
the  amount  of  pyro.  Always  keep  in  view 
that  the  greater  amount  of  pyro  increases 
the  contrast,  and  the  smaller  amount  of 
pyro  will  reduce  contrast;  consequently  will 
be  more  adapted  for  short  exposures. 

I  have  found,  by  accident,  a  very  good 
way  for  treating  an  undertimed  plate.  I 
treat  the  plate  with  a  diluted  developer  ; 
then,  of  course,  the  diluted  developer  works 
slow.  It  was  at  dinner  time.  I  went  away 
and  waited.  I  put  the  plate  in  and  just 
washed  it  slightly,  rinsed  it  once,  put  it 
into  a  little  water,  covered  it  up  a  half  an 
hour,  and  when  I  came  back  the  negative 
was  perfectly  developed  in  all  its  details, 
and  just  right  in  the  lights  and  shades. 
That  shows  that  development,  with  a  weak 
developer  containing  a  little  pyro,  also  will 
bring  out  the  detail  without  compelling  too 
much  density  on  the  high  lights.  Then, 
for  a  restrainer,  I  recommend  the  use  of  a 
stock  solution  of  pyro,  which  is  mixed  with 
sal  soda  solution.  If  you  add  to  this  same 
stock  solution  of  pyro  twenty  grains  of  bro- 
mide to  the  ounce  you  will  have  a  very 
powerful  remedy  for  overexposure.  By 
adding  a  little  of  that  to  the  developer  it 
increases  the  pyro  considerably;  and  also 
add  bromide  of  ammonia,  which  I  have 
done  to  restrain  the  shadows,  making  the 
light  more  intense  in  an  overexposed  plate. 


264 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


I  don't  know  of  anything  else,  except  some 
questions  might  be  asked.  If  so,  I  will  be 
glad  to  answer  them. 

Mr.  S.  T.  Felt:  I  would  like  to  ask  a 
question  here.  It  is  this,  Why  do  they  use 
salicylic  acid  to  preserve  the  pyrogallic  acid 
from  discoloring,  instead  of  the  oxalic  acid  ? 
My  experience  is  that  the  oxalic  acid  will 
preserve  it  for  a  much  longer  time  than  the 
salicylic  acid.  Perhaps  Mr.  Cooper  or  Mr. 
Cramer  can  answer  that  question. 

Mr.  Cramer:  Many  different  acids  have 
been  tried.  Oxalic  acid — that  may  answer 
just  as  well.  You  have  the  addition  also  of 
sulphuric  acid — that  has  been  used  a  great 
deal,  and  answers  the  purpose  also.  You 
might  use  the  oxalic  acid.  I  see  no  reason 
why  you  should  not.  Objection  has  been 
made  to  the  use  of  the  pyro  solution.  It 
should  be  used  as  fresh  as  possible.  Do  not 
make  it  up  a  long  time  in  advance ;  it  is 
not  necessary,  and  you  have  no  means  of 
preserving  it. 

Mr.  Inglis :  I  want  to  say  a  word  with 
regard  to  the  accelerators  used.  I  had  not 
intended  to  say  anything  else,  but  I  want 
to  give  my  experience  with  them.  It  has 
been  said  by  Mr.  Cooper  and  Mr.  Cramer 
that  the  use  of  more  pyro,  added  to  the  ac- 
celerator, it  being  sal  soda,  that  greater 
density  is  obtained.  Now,  that  is  exactly 
as  I  have  found  it  with  the  sal  soda,  but  I 
found  it  exactly  the  opposite  with  the  car- 
bonate of  potash — exactly  the  opposite.  I 
always  add  an  extra  quantity  of  potash,  but 
if  I  want  to  bring  out  more  density  I  do  not 
add  that  extra  quantity  of  potash.  I  some- 
times renew  the  whole  lot  with  an  extra 
quantity.  It  is  well  to  make  a  new  lot,  as 
I  said  at  first.  But  with  the  sal  soda  as  an 
accelerator  it  is  different.  I  cannot  gain  in 
density  by  adding  sal  soda  to  the  developer 
in  an  extra  quantity,  but  I  always  can  by 
adding  an  excess  of  the  carbonate  of  potash. 
One  thing  more,  in  regard  to  the  green  fog 
that  was  mentioned.  I  think  it  was  about 
three  or  four  weeks  since  the  gentleman 
from  Buffalo  was  down  in  Rochester  who 
put  me  up  to  the  use  of  the  sal  soda.  I  cer- 
tainly do  like  it,  since  he  has  put  me  upon 
it,  but  I  do  not  follow  his  directions  exactly. 
1  leave  out  the  bromide — the  small  quan- 
tity of  bromide  of  ammonia  which  he  re- 


commended to  be  put  into  it.  His  devel- 
oper was  simply  this  :  Six  ounces  of  a  satu- 
rated solution  of  sal  soda  and  forty  ounces 
of  water,  and  a  few  grains  of  dry  pyro 
added  for  the  development  of  the  plate,  and, 
he  says,  if  your  plate  is  not  going  fast  enough 
add  a  little  more  ;  it  shows  that  it  is  under- 
exposed ;  add  half  an  ounce  or  an  ounce  to 
this  saturated  sotution  of  sal  soda,  and  this 
will  bring  it  out  and  not  give  you  too  much 
density.     Put  the  pyro  in,  and  it  will. 

Now,  I  was  taking  some  of  those  instances 
that  I  know  of,  where  it  rendered  all  the 
pushing  that  could  be  put  into  the  work. 
I  put  in  as  much  as  two  ounces  of  the  satu- 
rated solution  of  sal  soda,  and  I  had  a  good 
developer,  just  as  good  as  I  ever  saw.  This 
was  the  sal  soda  and  pyro.  I  think  that 
that  was  very  much  of  an  improvement  to 
anything  that  I  had  ever  had  before.  I 
took  a  preparation  which  I  had  of  pyro 
containing  bromide  of  ammonia  in  it  made 
up  in  quantity.  I  put  in  an  excess,  made  a 
saturated  solution,  and  I  had  no  sign  of 
green  fog  at  all.  Therefore,  the  bromide  of 
ammonia  prevented  the  green  fog  without 
any  doubt. 

Mr.  E.  L.  "Wilson  :  I  want  to  say  a  word. 
I  rise  to  express  my  personal  satisfaction  with 
this  most  interesting  meeting  that  we  have 
had  to-night.  I  feel  that  I  have  enjoyed  a 
great  privilege,  but  I  also  think  that  if  we 
stay  much  longer  there  will  be  underex- 
posed sleep  and  overexposed  bedclothes. 
Therefore,  I  make  the  motion  to  adjourn, 
and  also,  that  the  thanks  of  the  Convention 
be  tendered  to  the  gentlemen  who  have 
taken  part  in  this  discussion.     Agreed  to. 

Adjourned. 

Friday,  Juty  17,  1S85. 

Fourth  Day.— Morning  Session. 

The  President  called  the  session  to  order 
at  10  o'clock,  a.  m. 

The  President;  The  first  business  this 
morning  will  be  the  report  of  committees. 
The  committee  on  the  matter  referred  to  in 
the  Photographic  Eye  will  now  make  their 
report. 

Mr.  Inglis :  Mr.  President,  ladies,  and 
gentlemen,  I  have  to  report  this:  Your 
Committee,  upon  looking  into  the  causes 
bringing  forth  the  item  to  which  the  atten- 


THE    PHILADELPHIA    PHOTOGrKAPHEK. 


265 


tion  of  this  Convention  was  drawn  in  its 
morning  session  yesterday,  report  as  follows : 
(Item  was  then  read.)  That  they  find  good 
grounds  for  the  same  by  the  admission  of 
two  of  the  members  of  the  Executive  Com- 
mittee of  this  Association. 

E.  A.  At  water, 
James  Inglis, 
C.  GenTile. 

Here  are  the  books  that  have  been  handed 
over  by  our  present  Secretary.  Our  present 
Secretary  or  the  Treasurer  cannot  make 
either  head  or  tail  out  of  them,  and,  if  any 
one  can  do  it,  I  wish  they  would  come  for- 
ward and  do  it,  or  show  how  it  can  be  done. 
I  cannot  make  anything  out  of  them  either. 

Mr.  Armstrong:  Gentlemen,  the  former 
Chairman  of  the  Executive  Committee  is 
not  present,  and  I  am,  I  suppose,  the  only 
member  on  that  Committee  who  could  say 
anything  about  it.  Now,  I  dislike  to  say 
anything  in  reference  to  anything  of  this 
kind  that  casts  any  censure  upon  anybody, 
because,  whenever  there  were  any  bills, 
they  were  paid,  after  they  were  audited  by 
the  Committee.  There  was  never  any  ex- 
penditure of  any  money  but  what  was 
authorized.  Now,  the  Chairman  of  the 
Executive  Committee,  Mr.  Kyder,  has  done 
more  for  the  Association  than  any  other 
man  that  ever  belonged  to  it.  He  is  not 
here  to  say  anything  about  it.  He  under- 
stands this  thing,  and  anticipated  it,  but  he 
went  away  yesterday,  not  knowing  that  such 
a  thing  was  to  be  brought  before  the  Conven- 
tion. Now,  I  made  the  only  report  that 
has  ever  been  made.  There  never  has  been 
any  formal  report  made ;  nothing  but  a 
meagre  report.  I  did  this  as  a  precedent, 
and  I  gave  all  the  report  that  I  could  give. 
I  got  all  the  information  I  could  get  from 
this  book.  Nobody  can  tell  anything  about 
it.  The  Secretary  collected  part  of  the 
funds,  although  that  was  outside,  and  he 
was  assuming  a  little  more  than  he  ought 
to  have  done,  but  he  did  it.  The  entire 
Convention  in  Cincinnati  depended  upon 
him,  and  he  collected  the  money.  He  paid 
out  a  good  portion  of  it,  and  the  Executive 
Committee  looked  over  the  matter  as  well 
as  they  could,  audited  all  the  bills,  ordered 
them  paid,  and  the  money  was  paid,  and 


that  is  all  there  was  about  it.  Now,  whether 
this  part}T,  the  members  of  it,  had  any  juris- 
diction over  any  former  board  of  officers,  is 
a  question.  I  submitted  the  report  of  the 
Treasurer,  meagre  as  it  was,  to  the  Execu- 
tive Committee  in  Buffalo  last  winter.  It 
was  accepted,  and  I  was  discharged.  So 
that  is  all  there  is  about  it.  I  could  go  fur- 
ther back  and  cite  what  instituted  this  thing, 
probably,  if  it  was  necessary;  but  I  don't 
believe  it  is  necessary  to  do  that. 

The  President:  I  think  it  would  be  well 
to  give  a  clear  understanding,  and  whatever 
you  know  about  it.  If  you  know  anything 
that  instigated  it,  let  us  have  it. 

Mr.  Armstrong  :  I  will  tell  you.  I  sup- 
pose that  you  have  read  The  Eye.  It  was  a 
weakly  thing,  and  it  wanted  pap — 

Mr.  Gentile  :  I  deny  it,  and  I  call  the 
gentleman  to  order;  I  do  not  like  any  such 
statements  made. 

The  President:  This  is  out  of  order;  I 
will  have  to  call  the  gentleman  to  order.1 

The  President:  The  next  business  in  order 
will  be  the  election  of  officers  for  the  next 
year. 

Mr.  Wilson:  I  have  a  short  motion  to 
make  before  we  proceed  to  the  election  of 
officers.  It  is  this :  I  understand  that  a 
great  many  of  the  members  came  here  with 
the  hope  of  seeing  a  demonstration  on  the 
new  film  negative.  Since  it  is  a  matter  of 
interest  to  all,  I  move  that  at  three  o'clock 
this  afternoon  we  invite  Mr.  Cooper,  of  the 
Eastman  Dry  Plate  and  Eilm  Co.,  to  bring 
his  camera  and  spool  here  and  demonstrate 
before  the  Association.  It  will  take,  per- 
haps, twenty  minutes  time,  and  it  will  be  a 
great  satisfaction  to  those  who  are  here. 

This  motion  was  agreed  to. 

The  election  of  officers  now  followed,  with 
the  result  below: 

President.— W .  H.  Potter,  Indianapolis. 

1  The  discussion  which  followed  on  this  sub- 
ject was  an  excited  and  lengthy  one;  but,  as 
there  was  a  committee  appointed  to  investigate 
the  charges  made,  we  decline  taking  up  the  space 
of  our  readers  any  further  with  the  scandal  now. 
For  the  fair  fame  of  our  Association,  we  wish 
the  matter  had  not  been  brought  up.  If  there 
has  been  a  breach  of  trust,  we  can  only  suffer 
and  bear  it.     There  is  no  resource. — Ed.  P.  P.. 


266 


THE    PHILADELPHIA    PHOTOGR  APHEE. 


Recording  Secretary .  —  H.  McMichael, 
Buffalo. 

Treasurer. — G.  M.  Carlisle,  Providence. 

Executive  Committee. — G.  Cramer,  St. 
Louis ;  D.  A.  Clark,  Indianapolis. 

Addresses  were  made  by  the  several  offi- 
cers elect,  and  congratulations  passed  all 
around. 

St.  Louis  was  decided  upon  for  the  next 
Convention,  and  the  time  left  to  the  decision 
of  the  Executive  Committee. 

Mr.  Cramer :  You  have  decided  to  meet 
next  year  at  St.  Louis.  I  shall  deem  it  my 
duty  to  make  the  members  of  the  Associa- 
tion happy  at  the  next  Convention.  I  shall 
try  all  in  my  power  to  have  a  successful 
meeting;  but,  for  the  information  of  the 
Committee,  I  should  like  to  know  what  has 
been  the  decision  about  the  medal  business. 
I  understand  my  motion  was  that  ten  medals 
should  be  awards,  and  that  the  motion  has 
been  carried.     How  was  it  decided? 

The  President:  It  has  been  left  to  the 
Executive  Committee. 

Mr.  Cramer :  I  hope  that  this  award  of 
medals  will  draw  out  the  finest  exhibits 
that  we  have  ever  had,  and  that  that  exhi- 
bition will  surpass  all  others.  I  believe,  as 
we  have  passed  the  resolution  to  award 
medals  for  the  best  exhibits,  it  would  be 
very  proper  to  make  an  award  for  the  best 
paper  read  in  the  Association.  It  would 
draw  out  some  very  valuable  lectures  which 
we  have  been  seeking  for  all  the  time.  I 
therefore  make  the  motion  now  that  we 
make  an  award  for  the  best  paper  of  practi- 
cal value,  in  addition  to  those  already  voted 
for,  and  that  the  Association  donate  some- 
thing for  that  purpose. 

The  President:  It  is  moved  and  seconded 
that  an  award  be  made  for  the  best  paper  of 
a  practical  value  presented  to  the  next  Con- 
vention in  addition,  and  that  the  Association 
donate  the  sum  of  f  100. 

The  question  then  being  called  for,  it  was 
agreed  to. 

The  President  then  announced  the  inves- 
tigating committee  to  be  Messrs.  Bellsmith, 
McMichael,  Poole,  Potter,  and  Joshua 
Smith. 

Mr.  Gentile:  I  wish  to  call  your  atten- 
tion to  remarks  made  in  my  report  on  pho- 
tography, that  we  should  pass  certain  reso- 


lutions to  the  memory  of  a  gentleman  who 
had  done  more  for  the  advancement  of  pho- 
tography in  this  country  than  anybody  else 
— that  is,  to  the  memory  of  the  late  H.  T. 
Anthony. 

Mr.  Kanger :  I  make  a  motion  to  that 
effect. 

This  motion  was  seconded. 

The  President:  It  is  moved  and  seconded 
that  proper  resolutions  be  passed  in  honor 
of  Mr.  H.  T.  Anthony,  who  has  done  so 
much  for  photography,  and  that  a  committee 
of  three  be  appointed. 

The  President:  I  will  appoint  Mr.  Gen- 
tile and  Mr.  J.  Traill  Taylor  on  that  com- 
mittee. 

On  motion  of  Mr.  Ryder  the  Convention 
then  adjourned  to  two  o'clock  this  after- 
noon. 

Fourth  Day.- — Afternoon  Session. 

President  Landy  in  the  Chair. 

The  President:  The  first  thing  in  order 
will  be  the  reading  of  a  paper  entitled, 
"The  Background,  and  its  Use  and  Abuse," 
written  by  G.  M.  Carlisle,  Providence,  E.  I. 

Mr.  E.  L.  "Wilson,  of  Philadelphia,  then 
read  the  paper,  which  is  as  follows : 

The  Background,  its  Use  and  Abuse. 

That  the  background  should  be  subordinate  to 
the  figure,  I  have  no  need  to  announce. 

This  truism  has  been  so  oft  repeated  that  the 
veriest  tyro  must  be  aware  of  its  importance  ;  yet 
we  see  every  day  the  effects  of  miserable  careless- 
ness in  the  use  of  both  interior  and  exterior  back- 
grounds. 

If  one  has  not  the  time  or  inclination  to  exer- 
cise proper  care  in  adapting  effective  grounds  to 
his  model,  it  were  better  he  have  none.  A  plain 
ground,  shaded  gradually  from  dark  upon  the 
one  edge  to  light  upon  the  opposite  edge,  and  so 
placed  behind  the  model  as  to  bring  the  face  in 
proper  relief  by  placing  the  dark  portion  of  the 
ground  opposite  the  lighted  side  of  the  face,  never 
fails  to  fulfil  its  mission,  and  is  easy  of  manage- 
ment ;  while  the  elaborately  painted  ground,  un- 
less carefully  managed,  destroys  all  harmony, 
and  exposes  ignorance  of  rules  of  composition  or 
carelessness  of  treatment. 

How  often  we  see  prints  from  negatives  beau- 
tifully lighted,  skilfully  finished,  and  properly 
printed,  yet  the  outline  of  the  face  so  identified 
with  the  ground  as  to  be  entirely  lost !  This  is 
so  common  an  error  that  there  are  few  photog- 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


267 


raphers  in  the  profession  who  do  not,  every  month 
in  the  year,  send  forth  to  the  public  this  glaring 
evidence — not  of  their  ignorance,  but  of  their 
carelessness  in  the  use  of  backgrounds. 

Should  we  have  frequently,  by  discerning  pa- 
trons, finished  pxtures  turned  back  upon  our 
hands  for  this  inexcusable  fault,  we  would,  by 
thus  having  our  attention  called  to  the  matter  in 
a  way  to  touch  our  purses,  be  benefited  by  the 
loss.  I  am  aware  that  photographers  of  experi- 
.•■  ence,  possessing  a  practical  knowledge,  would 
scarcely  need  to  be  told  that  a  contrast  between 
the  outline  of  face  or  figure  and  the  background 
is  absolutely  necessary  ;  yet  a  reminder  of  this 
important  fact  cannot  be  out  of  place  when  we 
see  so  frequently  evidence  of  a  neglect  on  the 
part  of  even  veterans  who  fail  to  put  in  practice 
what  their  experience  must  surely  have  taught 
them,  but  frequently  allow  glaring  errors  to  creep 
into  work  that  would  be  condemned  very  readily 
by  themselves  if  seen  in  the  establishment  of 
another. 

There  was  recently  brought  to  me  a  photograph 
to  be  copied  which  was  fully  up  to  the  average  in 
all  particulars,  save  one.  A  landscape  ground 
had  been  employed,  while  the  subject,  a  child, 
was  posed  upon  a  carpeted  floor,  reclining  against 
an  upholstered  chair.  By  converting  the  chair 
into  a  rock,  and  the  tapestry  carpet  into  a  grassy 
back,  we  were  enabled  to  stop  a  lake  from  flow- 
ing into  the  foreground,  of  which  there  seemed 
great  danger  in  the  original,  to  the  destruction  of 
both  life  and  property.  That  a  man  capable  of 
making  any  kind  of  photograph  should  use  a 
landscape  ground  in  connection  with  a  carpet, 
seems  strange,  indeed. 

Another  glaring  error,  too,  ofteen  seen  in 
otherwise  good  photography,  is  a  contradiction 
of  lighting.  The  model  lighted  from  the  left, 
while  the  design  of  ground  is  lighted  from  the 
right,  and  vice  versa. 

During  the  first  years  of  my  experience  with 
the  camera— 1857 — it  was  impossible  to  obtain 
painted,  by  order  or  in  the  market  as  merchan- 
dise, a  practical  or  useful  background ;  but  to  day 
we  are  favored  with  a  variety  that  leaves  nothing 
to  be  desired,  and  no  excuse  can  be  made  for 
not  possessing  any  property  using  as  an  auxiliary 
the  backgrounds  best  adapted  to  your  light  and 
requirements. 

In  selecting  a  ground,  one  too  pronounced 
should  not  be  chosen.  Many  have  an  impression 
that  a  ground,  however  sharply  painted,  will  be 
all  right  if  removed  far  enough  back  to  be  out 
of  focus.  Such  is  not  the  fact.  Experience  has 
shown  that  a  ground  properly  painted  should 
have  no  hard  or  decided  lines,  but  should  be 


merely  suggestive  with  a  penumbra  to  all  lines 
and  figures,  which  should  always  be  in  propor- 
tion to  what  the  model  must  necessarily  be  on  a 
given  size  mount. 

Careful  attention  to  line  of  horizon  should  be 
exercised  in  selecting  backgrounds,  a  large  per 
cent,  of  which  have  their  line  of  horizon  too  high, 
which  should  not  be  more  than  one-fourth  the 
distance  from  the  floor  to  top  of  painting.  Fig- 
ures are  frequently  photographed  larger  than 
they  should  be  when  placed  in  front  of  landscape 
grounds  or  interior  designs. 

A  lady  taller  than  a  church  spire  or  tree  is 
never  seen,  except  in  a  lying  photograph. 

Imagine  a  gentleman  photographed  standing 
near  an  open  door  or  arch,  and  his  figure  repre- 
sented several  feet  higher  than  the  door.  We 
have  all  seen  this  error  in  photography.  Should 
it  not  be  avoided  ?  I  once  saw  a  photograph  of 
a  lady,  representing  her  as  walking  by  the  sea- 
side ;  a  full-rigged  ship  so  painted  in  the  back- 
ground as  to  be  in  danger  of  tearing  away  the 
lady's  hair.  And  this  in  that  "  Athens  of  America," 
cultured  Boston.  Thus  the  most  ridiculous  things 
do  we  sometimes  witness  in  photography. 

Injustice  is  frequently  done  the  photograph  or 
negative  in  printing.  A  portrait  printed  from  a 
negative  with  a  ground  so  dark  as  to  show  a 
marked  halo  in  a  vignette  with  a  defined  edge  is, 
to  say  the  least,  in  bad  taste.  The  gradation  of 
a  vignette,  whatever  the  shade  of  ground,  should 
never  indicate  the  means  adopted  to  produce  the 
result.  So  far  should  the  mask  be  raised  from 
the  negative  that  no  imprint  of  its  shape  or  de- 
sign is  visible  in  the  print.  Therefore  a  ground 
too  dark  should  not  be  chosen  for  negatives  that 
are  to  be  vignetted  by  any  process  of  photo- 
graphic printing  yet  invented.  Tropical  plants, 
Italian  sunsets,  or  gorgeous  flowers  are  all  very 
well,  but  a  portrait  of  a  lady  dressed  in  furs,  sur- 
rounded by  such  accessories,  can  hardly  be  de- 
clared apropos.  The  photographer  who  is  guilty 
of  such  an  application  of  backgrounds  can  pos- 
sess but  little  art  feeling,  and  a  less  knowledge  of 
the  eternal  fitness  of  things  in  general.  To  those 
never  guilty  of  such  oversight  ihis  charge  cannot 
apply ;  but,  should  there  be  any  present  who 
have  not  hitherto  given  the  background  proper 
and  careful  consideration,  I  would  urge  upon 
them  the  importance  of  so  doing  at  once. 

There  are  not  so  many  who  have  written  their 
names  in  letters  of  gold  upon  the  scroll  of  fame 
but  that  there  is  yet  room  for  your  name  beside 
them.  Photography  in  all  its  branches  requires 
great  care  and  watchfulness,  but  in  no  department 
is  better  judgment  required  than  in  the  adaptation 
of  surroundings  to  the   model  or  subject  to  be 


268 


THE    PHILADELPHIA    PHOTOGPAPHEP. 


photographed.  The  general  public  are  becom- 
ing educated  up  to  this  important  feature  of  pho- 
tography fully  as  rapidly  as  photographers  are. 

Bear  in  mind  that  the  portrait  of  an  humble 
hod-carrier  may  fall  into  the  hands  of  those  whose 
good  opinion  of  your  work  it  is  desirable  you 
should  obtain.  Eternal  vigilance  is  therefore 
the  price  of  success  in  this  as  well  as  any  other 
business;  and,  so  long  as  you  make  good  use  of 
your  eyes,  hands,  and  the  mental  faculties  God 
has  given  you,  they  will  minister  unto  your  neces- 
sities, provided,  however,  you  have  the  courage 
to  charge  a  fair  and  adequate  fee  for  your  time 
and  skill,  as  do  men  of  other  professions. 

No  business  man,  with  an  eye  single  to  his  own 
interests,  will  fail  to  note  the  signs  of  the  period. 
If  the  public  become  accustomed  to  pictorial 
effect  in  photography,  they  must  be  indulged ; 
therefore,  possess  yourself  of  a  variety  of  grounds, 
but  exercise  the  most  judicious  care  in  their  use. 

Sir  Joshua  Reynolds  has  been  charged  with 
laying  down  in  his  writings  various  rules  which 
he  never  employed  in  his  own  practice.  If  the 
greatest  master  of  the  English  school  of  painting 
did  not  always  practise  what  he  preached,  I  con- 
clude I  may  be  excused  for  referring  to  defects 
that  may  be  found  in  my  own  productions. 

An  enterprising  photographer  of  Providence 
has  this  season  opened  an  equine  photograph 
establishment.  Here  the  painted  background 
plays  an  important  part.  In  an  open  and  spacious 
yard,  under  a  canvas  canopy,  backgrounds  are 
arranged  thirty  feet  long.  Here  horses  harnessed 
to  all  manner  of  vehicle  await  their  turn  to  be 
photographed,  and  their  owners  appear  to  be  as 
much  interested  in  securing  their  portraits  as  does 
the  anxious  mother  for  her  darling  child.  Here, 
then,  is  a  painter.  Any  large  city  will  support  its 
equine  photograph  estaalishment,  properly  con- 
ducted, and  equipped  with  appropriate  back- 
grounds. 

That  something  handsome  can  be  realized  from 
this  scheme  by  attending  State  Fairs,  I  have  no 
doubt. 

At  very  small  expense,  posts  may  be  put  up 
for  canopy  and  backgrounds  which  will  at  once 
attract  attention  and  profitable  orders. 

That  some  one  may  profit  by  this  suggestion 
is  the  sincere  desire  of, 


Providence,  K.  I. 


Yours,  fraternally, 

G.  M.  Carlisle. 


A  vote  of  thanks  was  tendered  to  Mr. 
Carlisle  for  his  paper. 

The  President :  There  will  be  a  meeting  of 
the  Investigating  Committee,  at  the  Genesee 


House,  at  7  o'clock.  The  Committee  are 
as  follows:  Mr.  H.  S.  Bellsmith,  Mr.  H. 
McMichael,  Mr.  Poole,  Mr.  W.  W.  Potter, 
and  Mr.  Joshua  Smith. 

The  next  subject  will  be  the  appointing  of 
Vice-Presidents. 

Mr.  Collins  :  I  move  you  that  the  names 
to  he  put  upon  that  list  be  referred  to  the 
Executive  Committee.     Agreed  to. 

Mr.  Inglis  :  There  was  to  be  some  discus- 
sion on  prices,  I  move  that  it  be  postponed 
to  an  informal  meeting  amongst  ourselves. 
Agreed  to. 

One  of  the  members  asked  what  had  be- 
come of  the  question  box.  The  President 
replied  that  it  had  been  disposed  of  yester- 
day, and  the  questions  unanswered  would 
appear  in  the  journals,  and  there  would  be 
an  opportunity  to  answer  them.  Mr.  G.  A. 
Douglass,  of  Chicago,  not  being  present, 
and  his  paper  not  being  on  hand  it  was  not 
read.  The  paper  of  W.  A.  Armstrong,  en- 
titled "  Our  Mistakes,"  was  not  read  on  ac- 
count of  the  absence  of  Mr.  Armstrong. 

The  President :  I  don't  see  anything  else 
for  us  to  do,  but  to  hear  the  description 
promised  us  by  the  gentleman  from  the 
Eastman  Dry  Plate  and  Film  Company. 
Unless  some  gentleman  has  something  to 
offer  we  are  ready  for  that  business  now. 

Mr.  Inglis:  If  there  is  nothing  more  to 
be  said,  I  will  make  a  suggestion  ;  it  may  be 
out  of  order  like  a  great  many  other  things 
I  have  said,  but  in  the  awarding  of  these 
prizes  I  think  it  would  be  well  if  there 
should  be  some  subjects  given  out,  and  what 
they  should  be  awarded  for;  to  make  up  a 
certain  kind  of  composition ;  and  the  light- 
ing of  subjects.  I  have  always  taken  a  very 
great  interest  in  the  lighting  of  the  head. 
That  is  the  principal  work  that  a  photogra- 
pher makes  his  living  by — the  lighting  of 
the  head.  I  have  very  seldom  seen  a  head 
lighted  in  an  artistic  way.  It  may  seem  a 
little  arrogant  on  my  part  to  say  so,  but  I 
say  I  don't  think  I  would  be  contradicted 
directly  in  saying  so.  I  might  say  that  my 
attention  has  been  drawn  to  this  matter,  and 
if  you  will  direct  your  attention  to  it  you 
will  observe  that  those  pictures  in  the  Ger- 
man collection,  you  will  notice  the  lighting 
upon  those  heads,  and  you  will  see  that  it  is 
accomplished    in   a  very   different   manner 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


269 


from  what  we  have  it  in  the  American  col- 
lection. I  think  it  would  be  well  worthy 
of  a  prize  by  this  Association.  I  think 
that  such  a  prize  might  be  given  to  some 
one  who  would  bring  forth  a  higher  state 
of  perfection  in  the  lighting  of  the  head. 
I  do  not  go  into  the  subject  of  the  lighting 
of  the  drapery  or  things  of  that  kind,  but  I 
would  confine  myself  entirely  to  the  head 
from  an  artistic  standpoint. 

Mr.  Cooper :  There  is  a  suggestion  I 
would  like  to  make  with  regard  to  this  very 
matter  of  the  exhibition  of  pictures  coming 
from  all  over  the  country.  I  have  found 
quite  a  number  of  men  who  made  the  re- 
mark that  they  should  be  very  much  pleased 
indeed,  to  send  a  collection  of  their  pictures 
to  be  exhibited  at  the  Convention,  if  it 
were  possible  for  them  to  make  any  such 
display  as  the  men  who  were  very  generally 
known  could  do.  In  the  first  place,  even 
though  they  place  an  exhibit  here,  or 
want  to,  they  were  deficient  in  the  subjects 
in  a  great  many  cases,  and  in  the  means  for 
putting  the  thing  before  their  brethem  in 
the  condition  in  which  they  would  like  to 
have  them  appear.  Now,  I  think  a  too 
elaborate  display — that  is,  too  great  a  dis- 
play of  pictures  on  the  part  of  any  one  man 
is  rather  overdoing  the  thing.  I  think,  at 
least  or  at  most,  twenty  real  first-class  pict- 
ures which  are  or  ought  to  be  the  gems  of 
any  man's  collection  could  be  placed  before 
the  members  of  the  Association,  and  it 
might  be  limited  to  that  number,  and  if  it 
was  thus  there  would  be  a  very  much  larger 
number  of  men  who  would  send  their  woik 
here,  and  who  would  feel  that  they  were  not 
cramping  themselves  in  doing  so,  or  placing 
themselves  in  an  unequal  light  before  the 
fraternity.  No  doubt  about  it,  Gentle- 
men, but  what  the  question  might  arise — 
well,  while  we  are  not  overstocked  with 
pictures  even  now  with  a  large  display  made 
by  some,  again  perfectly  true — why?  Be- 
cause a  few  make  a  large  display,  there  are 
many  who  cannot,  because  they  cannot 
afl'urd  to  send  pictures  hundreds  of  miles  in 
great  quantities  here — they  cannot  afford  to 
place  them  in  elegant  gilt  frames  before 
their  friends,  and  those  who  might  give 
them  advice  and  criticism  which  would  be 
of  just  as  much  value,  if  given  in  a  friendly 


way.  I  don:t  know  that  the  suggestion  is 
worth  anything ;  if  it  is,  I  hope  you  will 
act  upon  it,  and  do  some  good  in  that  way 
by  bringing  other  members  to  the  Associa- 
tion. I  believe  this  would  be  a  step  in  the 
right  direction. 

Mr.  Kanger:  I  notice  the  pictures  which 
have  been  sent  here  from  Europe,  mostly 
Germany  and  also  England,  are  remarkable 
specimens,  and  I  presume  to  say  that  it  has 
been  quite  a  large  expense.  I  think  it  is 
quite  befitting  for  us  as  a  body  to  take 
official  recognition  of  that  fact,  and  to  ex- 
tend a  vote  of  thanks  for  their  display.  It 
has  been  great  gratification  and  a  source  of 
profit  to  us  all. 

The  President :  That  has  already  been 
attended  to.  The  Executive  Committee  was 
authorized  to  prepare  an  engrossed  vote  of 
thanks  of  this  Association,  and  directed  to 
send  a  copy  to  each  one  of  the  gentlemen 
included  in  the  number  of  foreign  ex- 
hibitors. 

Mr.  Bellsmith  :  "Why  cannot  this  be  done 
through  some  association  in  Germany  or 
through  Mr.  Gennert? 

The  President :  I  think  that  the  photog- 
rapher deserves  the  credit  for  his  picture. 

Mr.  McMichael :  No  association  has  any- 
thing to  do  with  it.  It  has  been  done 
through  Mr.  Gennert,  who  invited  the 
foreign  exhibitors. 

The  President :  A  vote  of  thanks  might 
be  given  to  Mr.  Gtmnert  in  addition. 

Mr.  Inglis:  The  exhibition  that  we  are 
to  receive  from  the  Eastman  Dry  Plate 
Company  is  ready  to  be  given  ;  I  think  that 
we  should  proceed  with  that. 

Mr.  Cooper  :  We  are  ready  just  as  soon  as 
you  are. 

The  President :  We  are  ready,  we  were 
only  waiting  for  3  o'clock  to  arrive. 

Mr.  Cooper :  Ladies  and  Gentlemen,  and 
Mr.  President,  with  the  aid  of  my  friend, 
Mr.  Jones,  who  has  become  extremely  skil- 
ful in  the  manipulation  of  the  roller  holder 
which  we  are  about  to  present  to  you,  I  will 
try  to  explain  some  of  the  few  advantages 
which  are  to  be  derived  from  the  use  of  this 
new  process,  which  has  been  secured  with 
an  extreme  degree  of  hard  work,  and  ex- 
penditure of  a  large  amount  of  money  with 
the  hope   that   the   photographers   of    this 


270 


THE   PHILADELPHIA    PHOTOGRAPHER. 


country  as  well  as  others  will  show  that 
they  can  appreciate  something  that  bears 
the  mark  of  public  spirit,  and  that  they  are 
determined  to  work  for  the  craft  on  the  part 
of  the  men  who  have  done  so.  This  is  a 
camera.  I  don't  know  if  any  of  you  have 
seen  one  before,  but  I  guess  you  have. 
(Laughter.)  This  is  a  roller  holder,  a  great 
many  people  in  the  world  have  seen  that  in 
their  mind's  eye,  but  hardly  before  this  Con- 
vention has  it  been  presented  to  the  world 
in  the  shape  in  which  it  comes  to  be  con- 
sidered of  practical  value. 

The  mechanism  of  this  machine  is  simple, 
a  great  many  of  you  may  have  had  an  op- 
portunity of  seeing  it.  If  you  have  not,  I 
will  take  great  pleasure,  with  the  assistance 
of  my  friend  Mr.  Jones,  in  showing  it  to 
you,  and  pointing  out  its  various  uses.  I 
wish  to  say  right  here  that  we  prepared  an 
exhibition  for  this  Convention  with  an  im- 
mense amount  of  hard  work.  The  process 
by  which  we  exhibit  the  pictures  was  made 
and  really  came  into  being  within  six  weeks, 
We  had  been  working  with  the  object  in 
view  of  perfecting  a  film  process,  and  with 
that  object  it  was  determined  to  make  use 
of  the  support  for  the  film.  There  were 
various  reasons  that  suggested  themselves, 
but  that  which  seemed  to  be  certainly  the 
one  that  we  could  best  adapt  was  paper.  It 
had  frequently  been  tried  before,  but  usually 
failed.  Paper  was  adopted.  The  coating  of 
gelatine  was  placed  upon  the  paper,  after 
which  it  was  coated  with  a  soluble  emulsion. 
It  was  then  subjected,  after  exposure  and  de- 
velopment, to  the  usual  treatment  of  the  ex- 
posed plate,  squeezed  upon  glass  that  had 
previously  been  coated  with  a  rubber  solu- 
tion, to  admit  of  its  stripping.  Then  we 
treated  it  to  warm  water,  which  dissolved 
the  gelatine  solution,  and  allowed  the  nega- 
tive to  float  off.  The  negative  was  then  in 
a  reverse  shape  on  the  glass.  That  being 
reversed  could  not  be  used  for  portraits  or 
scientific  work  without  retransferring  it,  and 
it  became  necessary  to  coat  a  plate  with  a 
solution  of  gelatine ;  one  side  when  dried 
was  peeled  off"  leaving  a  negative  of  about 
this  form.  I  think  I  have  one  with  me  this 
afternoon  which  you  can  pass  around. 
You  will  see  the  piece  between  the  film 
and  the  negative — the  paper  negative.    Just 


about  the  time  that  that  process  had  been 
perfected,  and  all  the  difficulties  which  had 
presented  themselves  had  been  swept  away, 
it  suggested  itself  to  the  management  of  our 
concern  to  make  an  attempt  to  render  the 
paper  transparent  by  means  of  a  medium 
of  some  kind.  Various  things  were  tried, 
but  castor  oil  at  last  was  adopted  as  the  most 
satisfactory  so  far  as  we  know  at  the  present 
time.  An  opportunity  is  open  for  any  gen- 
tlemen, who  possess  the  talent  for  investi- 
gation, to  experiment  in  this  line,  and  if 
they  find  out  something  that  is  better  than 
castor  oil,  and  will  give  it  to  us,  we  will 
feel  deeply  indebted  to  them.  At  present 
all  we  can  say  is,  that  we  consider  that  we 
have  found  the  best  thing  for  the  purpose — 
that  is,  castor  oil.  That  is  the  best  that  can 
possibly  be  obtained,  bettter  than  any  other 
article  that  I  know  of,  or  that  we  know  of. 
This  process  was  presented,  and  the  neces- 
sity arose  for  some  method  by  which  the 
exposures  could  be  correctly  taken.  Many 
attempts  had  been  made  to  make  paper 
negatives  and  things  of  that  kind,  but  the 
difficulty  was  how  to  place  the  paper  in  such 
a  position  that  the  photograph  could  be 
made  easily  and  securely,  or  made  easily 
and  have  it  securely  fastened  to  the  glass. 
This  roller  holder  was  one  of  the  first 
things  that  suggested  itself,  and  it  has  been 
worked  out  with  a  great  deal  of  care.1 

My  friend,  Mr.  Jones,  Avho  knows  more 
about  this  thing  really,  in  its  manipulation, 
than  I  do,  will  now  show  how  it  is  operated. 

Mr.  Jones  :  We  have  here  two  rollers  ;  the 
paper  is  on  one  and  is  extended  to  the  other. 
This  is  a  dummy  spool  on  which  there  are 
twenty-four  paper  negatives  prepared  for 
twenty-four  exposures.  There  is  a  frog  on 
here  to  take  up  any  lost  motion  that  may  be 
made  on  the  paper. 

Mr.  Cooper:  You  will  notice,  gentlemen, 
that  the  paper  passes  over  a  table  which  is 
absolutely  flat,  and  there  can  be  no  warpage. 
There  cannot  be  any  possibility  of  any  in- 
accuracy in  focussing  on  a  surface  like  that. 
It  is  flatter  than  the  glass  that  you  ordi- 
narily get.  The  receiving  spool  here  which 
takes  up  the  paper  that  has  been  exposed,  is 
provided  with  a  clamp  to  which  this  end  of 

1  See  cut  in  advertisement. — Ed.  P.  P. 


THE   PHILADELPHIA    PHOTOGEAPHEE. 


271 


the  paper  is  first  adjusted,  and  admits  of  its 
being  rolled  from  one  spool  to  the  other. 
About  four  clicks  give  the  circumference 
of  this  spool.  This  is  a  6}  x  8\.  One  click 
is  one-quarter  of  the  spool.  At  every  click  we 
have  a  perforation  in  the  paper  which  can 
be  felt,  and  you  can  feel  them  and  count 
them.  The  impression  is  very  distinct,  so 
by  running  a  finger  on  the  surface  you  are 
able  to  measure  off  the  distance  accordingly. 

Mr.  Jones:  I  will  put  this  paper  on,  and 
turn  the  roller  so  you  will  see  how  it  is  done. 
(This  demonstration  was  made.) 


Mr.  Cooper :  So  much  for  the  roller  holder 
exhibit.  Let  me  relate  a  little  incident  con- 
nected with  it  showing  the  manifest  advan- 
tage which  it  places  in  the  hands  of  a  man 
who  is  likely  to  meet  a  brother  photographer 
who  is  somewhat  of  a  crank.  My  friend 
Jones  here,  went  out  on  a  little  amateur  ex- 
cursion when  the  Wild  West  show  was  in 
Rochester,  and  he  received  permission  from 
Buffalo  Bill,  Mr.  Cody,  to  photograph  the 
Indians  in  an  enclosure.  It  happened  to  be 
raining  very  hard,  and  my  friend  was  going 
to  take  a  group,  and  while  he  .was  in  the 
act  of  making  the  photograph,  this  photog- 
rapher happened  to  see  him,  and  he  ran  up 
in  front  of  the  camera  and  said  to  Mr.  Jones 
that  he  possessed  the  exclusive  right  to  pho- 
tograph the  show.  Mr.  Jones  said  to  him 
"  I  don't  want  to  be  mad  with  you,  but  I 
will  show  you  one  of  the  most  surprising 
things  you  ever  saw  in  your  life.  I  have 
something  peculiar  on  this  box.  You  just 
turn  this  little  crank  here,  one,  two,  three, 
four,  and  then  you  take  off  the  cap  here, 
and  you  count  one,  two,  three,  and  the 
picture  is  made."  The  photographer  was 
very  much  astonished.  He  was  very  much 
interested  in  watching  the  operation,  and 
he  did  not  understand  it,  but  Mr.  Jones  had 
taken  his  group,  and  he  surprised  him  very 
much  by  showing  him  afterwards  an  elegant 
print  from  the  negative.  That  is  one  of  the 
advantages.  I  was  asked  about  retouching, 
and  whether  it  was  possible  to  retouch  upon 


one  of  these  negatives.  Upon  one  of  the 
negatives  greased  with  castor  oil.  Now,  I 
want  to  say  that  it  is  a  very  singular  fact 
that  this  gelatine  film  produced  in  this  way 
with  the  oil  on  the  film  does  not  take  the 
pencil  very  easily  before  it  is  oiled,  but 
almost  immediately  after  you  have  oiled  it, 
you  can  find  there  is  a  regular  tooth  to  it. 
You  can  hear  the  sound  of  the  pencil 
almost.  You  see  how  easily  you  can  write 
on  it,  and  you  can  do  your  retouching  as 
easily  as  you  could  desire.  You  can  also 
remove  anj7  marks  or  spots  on  the  negatives. 
You  can  spot  out  anything.  It  takes  a  very 
strong  mark.  The  consequence  is,  you  can 
readily  dispose  of  any  little  defect  that  there 
might  be  in  the  negative.  I  would  say 
further  that  there  is  something  that  has 
never  been  done  before.  I  am  confident  I 
can  say  the  knife  can  be  used  on  that  sur- 
face. Any  gentleman  can  take  a  look  at 
that,  and  you  will  say  that  it  is  not  only 
susceptible  of  being  very  strongly  marked 
with  the  pencil  but  you  can  take  your  knife 
or  piece  of  stump  and  with  a  little  emery 
paper  on  it,  work  your  name  right  on  it — 
you  can  write  on  it,  and  that  too  without 
scratching  the  film  at  all.  Just  see  that  and 
hold  that  up  to  the  light,  and  you  will 
notice  that  it  is  possible  to  do  that — it  is 
possible  to  make  your  shadows  light.  You 
will  see  the  name  of  Sarony  written  upon 
the  surface  of  the  negative,  without  scratch- 
ing or  abrading  the  surface  in  the  least.  I 
don't  think  any  gentleman  ever  did  that  or 
tried  to  do  it  with  a  plate,  unless  it  was  a 
plate  that  was  not  good  for  anything.  So 
far  as  retouching  is  concerned,  I  think  that 
any  objection  on  this  score  can  be  laid  at 
rest.  Another  great  value  is  the  large  work 
which  can  be  done.  This  morning  we  de- 
veloped over  in  our  developing  room  on  the 
other  side  of  the  street,  three  20  x  40  nega- 
tives all  at  once,  one  on  top  of  the  other, 
pulling  them  right  over  each  other  in  the 
developing  dish.  I  don't  know  but  what 
we  will  have  one  or  two  of  these  negatives 
up  here.  Now  the  whole  operation  was 
concluded  in  from  eight  to  ten  minutes. 
Three  20  x  24  were  developed  all  at  once, 
and  very  fine  negatives  too.  I  mentioned 
last  night,  that  1  used  the  day  before  the  di- 
luted solution   of  the  one-si,\th   dilution  — 


272 


THE    PHILADELPHIA    PHOTOGRAPHER. 


that  is,  two  ounces  to  thirty-six  ounces  of 
water.  To-day  when  I  made  that  develop- 
ment I  used  two  ounces  to  sixty-four 
ounces  of  water,  and  got  elegant  negatives, 
brilliant  high  lights  and  color,  and  beauti- 
ful shadows.  Now,  when  the  new  process 
was  devised  it  was  supposed  that  the  film 
was  susceptible  of  being  used  only  in  the 
roller  holder.  That  is  not  so.  We  have 
provided  a  very  neat  little  mechanical  de- 
vice for  exposing  the  film,  which  you  will 
see  here.     There  is  a  square  of  wood,  which 


is  composed  of  wuods  the  grain  of  which  is 
cut  in  different  ways.  This  is  done  so  that 
there  will  be  no  warping.  It  lays  perfectly 
flat.  It  is  extremely  light.  Going  into  the 
dark  room  and  taking  out  the  film  you  get 
an  absolutely  accurate  and  true  image  as 
the  camera  can  make.  You  lay  it  down, 
and  you  take  this  little  point,  which  has 
been  stamped  out,  and  you  will  see  that  it 
will  fit  very  accurately  around  that.  You 
place  it  down  here  like  that,  and  there  is 
your  plate.  You  put  that  into  your  ordinary 
wet  or  dry  plate  holder.  One  of  these  will 
go  in  very  easily,  so  that  you  see  it  is  not 
absolutely  necessary  that  a  man  should  go 
away  from  here  supposing  that  he  is  bound 
to  buy  a  very  expensive  outfit  to  try  it.  It 
is  within  the  reach  of  anybody  and  every- 
body. I  think  there  is  very  little  use  in 
taking  up  your  time  any  further.  You 
heard  last  night  what  I  said  on  the  subject 
of  development.  You  heard  also  what  I 
had  to  say  about  developing  solutions  of  a 
very  strong  character.  There  is  the  develop- 
ing solution  that  will  keep  for  ten  months. 
I  put  in  two  ounces  to  sixty-four  ounces  of 
water,  and  develop  full  of  brilliancy,  detail, 
and  softness. 

Mr.  Cooper:  All  is  in  one  solution.  It 
is  concentrated  and  combined  afterward. 
You  can  make  a  concentrated  solution,  one 
of  the  sulphite  and  one  of  the  soda,  and  you 
add  your  quantum  of  pyro  and  put  them 
together  in  equal  proportions ;  they  will 
keep  indefinitely. 


A  Member:  I  would  like  to  ask  how  films 
will  compare  in  price  with  other  dry  plates? 

Mr.  Cooper :  In  the  case  of  very  large 
work,  about  one-half  the  price;  in  the  case 
of  small  work,  11  x  14,  probably  about  two- 
thirds.  I  don't  think  any  less  than  that — 
about  two-thirds  of  the  price.  You  see,  the 
difference  in  the  price  of  the  large  glass  is 
quite  an  item.  If  there  are  any  questions 
which  the  gentlemen  would  like  to  ask  rela- 
tive to  this  matter,  I  would  be  very  glad  to 
answer  them  to  the  best  of  my  ability. 

A  Member  :  "Will  you  say  how  you  treated 
negatives  preparatory  to  printing? 

Mr.  Cooper:  You  say  you  want  to  know 
how  it  is  oiled  before  it  is  printed.  We 
found,  upon  endeavoring  to  oil  it,  that  it 
can  be  done  quite  readily  by  simply  rubbing 
the  oil  on  the  negative,  or  by  subjecting  it 
to  any  ordinary  degree  of  heat.  The  con- 
sequence was,  we  laid  the  paper  down  upon 
a  bit  of  soft  paper,  and,  putting  castor  oil 
over  the  back  and  rubbing  it  around  and 
treating  it  with  an  ordinary  clothes  iron,  such 
as  is  used  in  laundries ;  when  quite  hot,  and 
rubbed  all  over,  the  consequence  was,  that 
the  air  in  the  cells  of  the  paper  would  be  ex- 
pelled directly,  by  the  heat  allowing  the  oil 
to  take  its  place.  If  in  the  operation  you 
do  this,  the  transferring  of  the  oil  takes 
place  readily.  Then  you  can  wash  your 
plate  properly.  In  the  case  of  the  iron  not 
being  hot  enough,  you  know  the  remedy  for 
that;  you  simply  heat  your  iron  again  and 
go  on.  In  the  case  of  a  negative  not  being 
properly  washed,  all  that  you  have  to  do  is 
to  continue  the  operation  until  you  have 
evaporated  all  the  water  of  crystallization 
from  the  crystals  of  hypo  that  remain  in  the 
film,  and  when  all  the  water  is  out,  you  will 
let  the  oil  go  in  ;  so  that,  if  you  find  any 
trouble  of  that  kind,  you  will  know  what 
the  cause  is — the  negative  is  not  properly 
washed  from  the  hypo,  or  that  your  iron  is 
too  cold.  You  can  remeay  both  of  these 
things  very  easily:  one  by  heating  the  iron, 
and  the  other  by  a  little  perseverance. 

Mr.  Clifford:  What  defects  have  occurred 
that  you  know  of? 

Mr.  Cooper:   I  know  of  none. 

Mr.  Clifford:  Does  this  paper  require 
more,  or  less,  washing  than  glass  ? 

Mr.  Cooper  :   It  requires  less. 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


273 


Mr.  Clifford :  How  long  do  you  keep  it 
in  the  running  water? 

Mr.  Cooper:  Not  more  than  fifteen  min- 
utes For  large  negatives,  we  put  in  quite  a 
number  of  them  together,  and  in  this  way 
they  are  washed  quite  thoroughly.  So  far 
as  the  sensitiveness  is  concerned,  they  are 
washed  in  a  little  less  than  half  an  hour;  it 
would  be  safe  to  give  half  an  hour's  wash- 
ing. 

A  Member :  This  process  is  patented,  is 
it  not  ? 

Mr.  Cooper :  So  I  believe. 

A  Member  :  What  is  the  difference  be- 
tween this  and  the  Warnerke  film  ? 

Mr.  Cooper :  I  do  not  happen  to  know 
how  the  Warnerke  film  is  made,  or  I  should 
be  able  to  state  the  difference.  If  you  will 
tell  me  what  you  know  of  it,  I  can  perhaps 
make  a  comparison. 

Mr.  Taylor  :  The  Warnerke  system  con- 
sisted of  two  rollers,  in  every  way  very 
much  the  same,  only  the  paper  was  coated 
with  a  collodion  emulsion,  instead  of  gela- 
tine. In  other  respects  I  think  it  worked 
the  same.  I  have  seen  it  work  many 
times,  but  I  don't  know  whether  it  was 
patented  or  not ;  it  was  manufactured  to  be 
used  extensively. 

Mr.  Cooper:  Did  Mr.  Warnerke .  ever 
put  his  film  on  the  spool  himself — that  is, 
did  he  ever  sell  his  spools  with  the  film  ? 

Mr.  Taylor:  All  I  got  were  put  on  by 
him. 

Mr.  Cooper :  I  don't  know  anything 
about  that,  but  I  doubt  it  very  much. 

A  Member:  Will  you  state  how  you  keep 
the  negatives  after  they  are  ready  to  print? 

Mr.  Cooper :  We  have  the  best  means  of 
keeping  the  negatives,  which  is  to  place 
them  face  to  face  and  back  to  back  in  an 
ordinary  printing  frame,  and  put  a  little 
pressure  on  them.  They  will  keep  perfectly 
flat.  It  is  not  necessary  to  use  your  print- 
ing frame  for  that  purpose.  It  would  be  a 
very  simple  thing  to  arrange  a  portfolio  or 
envelopes  in  which  they  could  be  kept. 
They  could  be  placed  one  on  top  of  the  other, 
and  the  pressure  of  their  weight  would  pre- 
vent the  necessity  of  having  anything  like 
pressure  from  any  other  source. 

A.  Member:  How  many  negatives  can  be 
developed  in  the  dish  at  once  ? 


Mr.  Cooper:  Sixteen  of  the  small  sizes, 
and  as  many  as  four  of  the  size  of  18  x  20 
can  be  developed  at  the  same  time. 

Mr.  Beidle :  Are  they  liable  to  become 
opaque  ? 

Mr.  Cooper :  Decidedly.  The  time  will 
come  when  the  oil  will  dry  out,  as  it  will 
out  of  any  other  substance.  Just  the  same 
way  that  it  went  out  it  will  come  in  again. 
As  you  put  it  in  before,  you  can  put  it  in 
again.  If  it  becomes  necessary  to  make 
use  of  your  negative,  re-oil  it.  The  re-oiling 
is  done  in  a  short  time  ;  it  needs  no  drying 
after  oiling.  The  alcohol  will  entirely  re- 
move the  presence  of  any  oil  on  the  surface, 
and  you  can  print  from  it  immediately. 

Mr.  Gentile :  Can  it  be  printed  from  both 
sides  ? 

Mr.  Cooper:  I  have  no  doubt  it  can  be 
done,  but  I  don't  think  the  print  will  pre- 
sent quite  as  perfect  an  appearance  printed 
through  the  paper  as  it  would  printed  from 
the  substance  of  the  films.  I  hardly  think 
it  possible  to  expect  it  would.  At  any  rate, 
it  would  present  so  little  difference  as  to  be 
hardly  discerned  by  any  good  expert.  It 
can  be  retouched.  There  is  no  difficulty 
about  the  focus. 

Mr.  Poole :  Immediately  after  washing, 
how  do  you  dry  these  paper  negatives? 

Mr.  Cooper  :  There  are  two  ways  in  which 
it  may  be  done,  but  neither  is  an  absolute 
necessity.  You  can  lay  your  plate  upon 
the  same  spot  or  on  ordinary  blotting-paper, 
or  squeeze  them  down  upon  a  plate  of  glass, 
cover  them  with  a  rubber  solution  to  pre- 
vent adhering  to  the  glass,  the  ordinary 
black  rubber,  and  as  soon  as  the  negative 
dries  it  peels  off,  falls  off  from  its  own  weight. 

Some  discussion  followed  as  to  the  East- 
man patent,  after  which  Mr.  Cooper  said: 

I  don't  know  that  I  came  here  with  the 
object  of  entering  into  any  argument ;  but, 
if  it  is  necessary,  I  shall  be  very  glad  to 
enter  into  any  discussion  with  any  gentle- 
man when  I  have  made  preparation  to  do 
so.  I  have  no  objection  to  doing  it  then, 
but  at  present  my  object  in  coming  up  here 
was,  to  show,  just  so  far  as  I  could,  what  I 
need  to  show  (applause) ;  and,  if  I  have 
said  anything  by  which  I  have  trod  upon 
anybody's  toes,  I  apologize.  I  came  up 
here  to  give  my  experience,  and  to  show  you 


18 


274 


THE    PHILADELPHIA    PHOTOGRAPHER. 


this  roller;  if  it  is  not  worth  anything,  let 
it  go  where  it  belongs. 

Mr.  Carbutt:  Mr.  President,  my  remarks 
are  not  intended  to  show  that  there  is  any- 
thing contradictory  in  what  has  been  said, 
not  in  the  least  degree.  I  have  been  quite 
familiar  with  photographic  patents  and  with 
the  manufacture  of  gelatine  paper;  and,  if 
I  had  not  been  so  familiar,  I  should  have 
been  under  the  impression  that  what  Mr. 
Croughton  has  been  showing  us  was  an  en- 
tirely new  thing.  There  is  quite  a  difference 
between  what  he  had  in  use,  and  what  has 
been  shown  us,  and  that  which  was  an- 
nounced last  December,  and  all  credit  is 
due  to  them  for  it,  and  for  the  most  ingeni- 
ous means  of  exposing  the  paper.  They 
have  a  light  to  it,  and  they  are  entitled  to 
full  and  due  credit  for  it.  It  is  a  great 
step  in  the  right  direction,  and  it  will  open 
up  a  new  field  of  labor,  and  will  be  a  great 
benefit  to  the  profession. 

Mr.  Wilson  :  Now  that  Mr.  Cooper  has 
finished  his  remarks  and  his  demonstration, 
I  move  that  a  vote  of  thanks  be  tendered  to 
the  Eastman  Dry  Plate  and  Film  Company 
and  to  Messrs.  Cooper  and  Jones  for  what 
has  been  exhibited  to  us  here  this  afternoon. 

Agreed  to. 

Mr.  Potter  :  There  is  one  thing  about 
this  paper  that  has  raised  an  inquiry  in  my 
mind,  and  that  is  as  to  the  use  of  the  castor 
oil  upon  these  negatives.  I  have  found  in 
handling  albumen  paper  that,  if  you  get  the 
least  grease  from  your  hands  upon  it,  it 
affects  the  sheet  in  washing.  I  should  think 
there  would  be  some  danger -in  printing  the 
negative  in  the  sun  in  very  warm  weather, 
and  the  inquiry  would  arise  whether  the  oil 
would  affect  the  chemical  salt  in  the  paper. 

Mr.  Cooper:  It  might  probably  seem  like 
a  bold  statement  that  I  make,  but  it  has 
been  proved  that,  by  this  method  of  work- 
ing the  paper,  there  is  no  difficulty  of  that 
kind.  The  matter  has  been  tested  thor- 
oughly.    This  difficulty  is  only  imaginary. 

Mr.  "Wilson  :  A  motion  to  adjourn  sine  die 
is  now  in  order,  but  before  that  motion  is 
made,  I  move  that  the  usual  vote  of  thanks 
be  tendered  our  officers,  our  exhibitors,  and 
the  gentlemen  who  have  paid  us  so  much 
attention,  and  that  the  usual  quantity  of 
thanks   on   such    occasions  be  given  to  all 


the  parties  interested,  and  especially  to  the 
Secretary,  who  has  so  diligently  attended  to 
the  business  laid  out  on  the  programme. 

This  motion  was  seconded  by  several,  and 
agreed  to. 

The  President :  It  is  with  much  regret 
that  I  now  bring  this  Convention  to  a  close. 
In  doing  so,  I  congratulate  you  upon  the 
harmony  and  good  feeling  which  have  char- 
acterized its  sessions  from  beginning  to  end. 
I  also  express  a  hope  that  what  you  have 
seen,  and  what  you  have  heard,  and  what 
you  have  done,  will  prove  of  great  service 
to  you,  and  in  the  future  become  so  gener- 
ally known  among  the  fraternity  at  large 
as  to  secure  for  photography  and  photog- 
raphers a  better  position  in  the  eyes  of  the 
world,  better  work,  and  better  prices.  With 
warm  thanks  for  your  patience  with  me,  as 
your  presiding  officer,  I  wish  you  a  safe  re- 
turn to  your  studios,  and,  bidding  you  a 
kind  farewell,  I  now  declare  this  Convention 
adjourned  sine  die. 


OUR  PICTURE. 


The  quality  of  any  art  depends  altogether 
upon  the  quality  of  the  artist's  mind  and 
not  upon  the  subject.  The  finest  poetical 
theme,  in  itself  full  of  pathos  and  beauty, 
becomes,  in  the  hands  of  a  prosaic  person, 
prosaic ;  but  the  simplest  subject  in  the 
mind  of  a  poet  becomes  a  new  creation. 
"  The  Mouse  "  of  Burns,  or  the  Daffodils 
of  Shakespeare,  or  the  Daisy  of  Words- 
worth, though  the  humblest  things  of  earth, 
are  transformed  by  genius  into  embodiments 
of  beauty  and  deep-hidden  truth.  A  Hay 
Barn,  by  Kembrandt,  has  more  beauty  and 
more  attraction  to  one  who  has  a  true  feel- 
ing for  art  than  the  sublimest  subject  by  a 
soulless  painter.  But  excellency  does  not 
consist  in  the  choice  of  prosaic  subjects.  A 
mouse  will  remain  a  mouse,  a  hay  barn  still 
retain  its  hay-barn  peculiarities,  unless  both 
be  ennobled  by  the  treatment.  Mere  tech- 
nical skill  in  the  rendering  is  not  enough ; 
the  one  will  be  a  mere  zoological  analysis, 
the  other  a  topographical  survey — neither 
poetical  nor  artistic.  Something  more  is 
demanded  than  skill  in  the  reproduction  of 
the  actual  to  make  it  presentable  in  art. 

We  do  not  mean  to  say  that  detail  should 


THE   PHILADELPHIA    PHOTOGRAPHER. 


275 


be  disregarded.  There  can  be  nothing  good 
without  attention  to  its  demands.  There 
can  be  no  good  generalship  without  accurate 
knowledge  of  roads  and  forage,  and  drills, 
manoeuvres,  and  inarches.  Imagination 
will  not  supply  the  lack  of  knowledge,  but 
there  is  something  more  demanded.  There 
can  be  no  good  generalship  without  the 
power  to  generalize,  discriminate,  and  or- 
ganize, and  so  there  can  be  no  effective  art 
without  respect  for  technical  and  mechani- 
cal process ;  but,  emphatically,  there  can 
be  no  art  without  imagination. 

The  demands  upon  the  photographer,  we 
are  willing  to  admit,  are  great,  but  that 
they  can  be  met  we  have  abundant  proof  in 
the  excellent  work  with  which  we  present 
our  readers  this  month. 

Mr.  Gutekunst,  of  Philadelphia,  is  too 
well  known  to  the  profession  to  need  intro- 
duction. He  is  not  only  a  conscientious 
photographer,  solicitous  of  securing  the 
highest  technical  excellence  in  his  work, 
but  he  stands  upon  a  loftier  level.  He  is 
one  of  those  who  exercises  the  power  of 
invention  in  photography,  and  hence  merits 
the  name  of  artist.  He  does  not  find  it 
necessary  to  have  beautiful  subjects  to 
create  beautiful  work.  He  possesses  the 
ability  to  call  forth,  even  in  the  plainest 
face,  the  beauty  of  expression  ;  to  mirror 
the  passion  and  emotion  of  the  soul  within. 

It  seems  to  us  that  photography  as  much 
as  art,  to  be  successful,  demands  a  certain 
knowledge  of  human  nature,  and  this 
knowledge  must  be  brought  into  exercise 
to  print  the  mind's  discernment  on  the  face. 
The  greater  a  student  of  human  nature  the 
photographer  is,  the  greater  will  be  his 
work.  The  portraits  before  us  convey  the 
thoughts  and  sentiments  animating  the  sit- 
ters as  truly  as  painted  portraits  of  high 
order;  the  subjects  are  all  interesting.  The 
eye  of  the  artist  has,  with  fine  perception, 
seized  upon  the  moment  when  the  soul 
within  has  looked  out.  These  faces  are  fine 
character  studies  ;  the  individual  peculiari- 
ties of  each  are  forcibly  lined  forth.  "We 
can  read  distinctly  in  the  face  of  P.  T. 
Barnum  vigor  and  untiring  energy,  which 
never  subcumb  to  any  obstacle.  In  the 
face  of  Hermann  Linde,  the  distinguished 
German  actor  and  rhapsodist,  the  intellec-. 


tual  element  predominates  ;  the  fine  head 
is  thrown  beautifully  in  profile,  and  the  eyes 
betoken  intensity  of  thought  and  poetic 
feeling*  The  vigorous  face  of  the  great 
preacher,  Dr.  T.  De  "Witt  Talmaeje,  chal- 
lenges our  attention  by  its  bold  lines  of 
character  and  earnestness.  The  thoughtful 
and  energetic  face  of  Thos.  JST.  Walker,  the 
architect,  is  very  graphically,  portrayed. 
The  serene  and  benevolent  expression  of 
Bishop  Wm.  M.  Green  is  full  of  kindness, 
indicating  a  mildness  of  disposition,  blended 
with  vigor  of  intellect  and  definiteness  of 
purpose. 

With  what  skill  has  the  language  of  ex- 
pression been  translated  in  these  character- 
istic studies  of  the  human  face  !  Add  to 
this  the  technical  excellency,  the  beautiful 
manner  in  which  they  are  lighted,  the  rich 
and  soft  modulations  in  tints,  and  the  har- 
mony in  the  blending  of  the  lights  and 
shades,  and  we  will  not  wonder  how  it  is 
that  Mr.  Gutekunst  has  resisted  the  inunda- 
tion of  low  prices  and  poor  work.  "Whilst 
the  timid  and  mediocre  photographer  has 
made  his  efforts  for  prosperity  useless  by 
choking  the  stream  with  his  fleets  of  petty 
sails,  low  prices,  and  club-rates,  the  gallant 
craft  of  men  like  Mr.  Gutekunst  has  kept 
right  on  to  prosperity,  and  seen  thousands 
of  these  little  barques  foundered  in  the  wide 
sea  where  their's  sail  in 'safety.  With  such 
men  excellency  of  workmanship  and  artistic 
rendering  of  the  subject  have  been  para- 
mount to  everything  else  ;  good  wovk  has 
been  their  aim,  and  they  have  not  been 
afraid  to  charge  good  prices  for  it,  and  we 
are  rejoiced  to  say  that  the  public  has  sup- 
ported and  will  continue  to  support  them, 
which  argues  well  for  the  taste  of  our  people. 

The  negatives  from  which  the  prints  were 
made  are  part  upon  dry  and  some  on  wet 
plates  ;  the  prints  upon  the  excellent  quality 
of  albumen  paper  (the  1ST.  P.  A.  brilliant) 
furnished  by  E.  &  H.  T.  Anthony  &  Co., 
591  Broadway,  1ST.  Y. 

Mr.  Chauncey  L.  Mooee,  of  Springfield, 
Mass.,  we  are  informed,  has  taken  possession  of 
his  new  and  elegantly  fitted  up  quarters,  where 
he  is  prepared  to  maintain  the  standard  of  ex- 
cellency with  which  he  has  hitherto  repaid  his 
numerous  patrons. 


276 


THE  PHILADELPHIA  PHOTOGKAPHEP. 


(&&ittttft  litk 


All. — In  one  issue,  by  adding  20  pages  to  our 
usual  quota,  we  give  our  subscribers  first,  before 
oil  other  magazines,  the  entire  proceedings  of  the 
Buffalo  Convention,  with  every  paper  read  there. 
No  other  magazine  does  this,  and  buyers  who 
understand  the  convenience  of  having  the  whole 
thing  in  one  volume  will  appreciate  our  efforts 
in  their  behalf  by  ordering  the  extra  copies  they 
want  soon. 

We  have  printed  an  extra  edition,  and  will 
mail  copies  at  50  cents  each.  Order  early.  Our 
comments  on  the  Exposition,  events  of  the  week, 
opinions  of  the  craft,  and  other  matters,  will 
appear  next  month.  The  Philadelphia  Pho- 
tographer is  alwai/s  ahead. 


The  Suter  Lenses  at  the  Convention  at- 
tracted more  attention  than  anything  else  offered 
for  the  inspection  of  the  craft.  The  lovely  ex- 
amples of  work  secured  by  them  at  home  and 
abroad  created  a  regular  stir.  And  no  wonder, 
for,  wherever  the  Suter  lenses  are  used,  they  not 
only  produce  elegant  work,  but  they  win  the 
people  who  use  them.  Here  is  an  e  pluribus 
unum  from  Mexico,  which  proves  what  we  say  : 

Matamoros,  Estado  de  Tamaulipas,  Mexico, 
May  22  de  1885. 

Srs.  Allen  Brothers, 
Detroit,  Michigan,  E.  U.  de  America. 

Muy  Srs.  mios:  A  su  tiempo  recibi  fror  el 
"  Express  "  el  lente  Aplanatico  B,  No.  5,  manu- 
facturado  por  et  Sr.  E.  Suter  de  Basle  Suiza. 
Debo  decir  a  Uds.  que  este  lente  salio  a  toda  mi 
satisfaccion,  fires  es,  de  una  exelencia  perfectir; 
dando  un  campo  applaniitico,  con  definicion  de 
detalles  hasta  los  extremos  de  la  negativa,  gran 
difucion  de  foco  y  suividad  en  las  imagenes; 
por  lo  que,  creo  de  justicia  recomendarlo  a  todos 
los  fotografos  de  Mexico  y  la  America  del  Sur ; 
donde  aun  no  es  Conocido,  y  cl  serlo  sera  apre- 
ciado  fror  su  exelencia  y  su  relativamente  bajo 
precio. 

Yo  siempre  he  usado  lentes   Ingleses  de  la 

fabrica  de ,  y  eneuentro   los  de  Suter  tan 

buenos,  y  valiendo  menos  dela  voritoe  de  los 
primeros.  Hoy  con  el  usa  de  las  plas  secas  estos 
lentes  sou  inmejorables.     Ya  me  hago  el  placer 


de  dar  a",  Uds.  las  gracias  por  haberme  enviado 
dioho  dicho  lente  haciendome  conocerlo  y  apre- 
ciarlo. 

Sin  mas  quedo  de  Uds  respetuosamente  su  a.  s. 
Jose  M.  Mendez. 

[Translation.] 

Matamoras,  State  of  Tamaulipas, 
Mexico,  May  22,  1885. 

Messrs.  Allen  Brothers,  Detroit,  Mich., 
U.  S.  of  America. 

Gentlemen  :  T  received  in  good  time  by 
express  the  aplanatic  B.  No.  5  lens,  made  by 
Mr.  E.  Suter,  of  Basle,  Switzerland.  I  must  say 
to  you,  gentlemen,  that  this  lens  is  to  my  entire 
satisfaction,  on  account  of  its  perfect  excellence  ; 
it  gives  an  aplanatic  field,  with  definition  of  de- 
tails to  the  margins  of  the  negative,  great  diffu- 
sion of  focus,  and  softness  in  the  image.  I 
consequently  feel  justified  in  recommending  it 
to  all  the  photographers  of  Mexico  and  South 
America.  Wherever  known,  it  will  surely  be 
appreciated  for  its  excellence  and  its  relative 
cheapness. 

I  have  always  heretofore  used  English  lenses, 

made  by ,  and  I  find  those  made  by  Suter 

fully  as  good,  and  costiDg  but  half  the  price  of 
the  former. 

In  working  with  the  dry  plates  now  in  use, 
these  lenses  cannot  be  improved  upon. 

I  take  pleasure  in  thanking  you  for  having 
sent  me  this  lens,  and  thus  enabling  me  to  know 
and  appreciate  it.     Very  respectfully  yours, 
Jose  M.  Mendez, 


The  excellent  work  accomplished  by  the  New 
Orleans  Centennial  Photographic  Company  is 
due,  no  doubt,  to  the  staff  of  skilled  operators 
engaged  by  the  experienced  Superintendent  of 
the  Department;  but  the  success  of  the  operators 
depended  upon  the  excellent  aparatus  supplied. 
At  the  close  of  the  Exposition  the  greater  por- 
tion of  apparatus  was  secured  at  the  low  price 
at  which  it  offered.  We  refer  our  readers  who 
are  desirous  of  purchasing  what  is  still  left  to 
the  last  in  the  Specialty  advertisement  in  the 
pages  of  this  journal.  Mr.  A.  H.  Plecker,  of 
Lynchburg,  Va.,  writes,  "  The  camera  box  to 
hand,  and  I  am  very  proud  of  it." 


)J* 


MAKE  OUT  YOUR  OWN  BILL,  and  remit  cash  with  your  advertisements,  or  they  will  not  be 
inserted. 

ADVERTISING  RATES  FOR  SPECIALTIES.— Six  lines,  one  insertion,  $2.00,  and  25  cents  for 
each  additional  line,  seven  words  to  a  line — in  advance.  Operators  desiring  situations,  no  charge.  Mattel 
must  be  received  by  the  23d  to  secure  insertion.  Advertisers  will  please  not  ask  us  for  recommendations. 
JSQf  We  cannot  undertake  to  mail  answers  to  parties  who  advertise.  Please  always  add  your  address  to  the 
advertisement.     Postage-stamps  taken. 


NOVEL,  ARTISTIC,  INTERESTING. 
Seavey's  1885  Exhibit. 

P.  A.  of  A.  Convention,  Buffalo,  N.  Y. 

"Just  suited  to  the  times,"  our  new  and 
popular  6  ft.  x  8  ft.  full  and  three-quarter 
length  Backgrounds,  for  light  and  dark 
draperies,  adults  and  children  at  from  $9.60 
to  $12.00.  Hard  times  and  low  prices  no 
excuse  for  not  having  one  or  more  of  these 
valuable  aids. 

Moreno  Patent  Glass  Foregrounds. — 
Clouds,  grasses,  balustrades,  etc.  Taking 
and  wonderful  illusions  at  from  $8.00  to 
$10.00. 

Four  Change  Garden  Wall.  —  Fully 
trimmed  with  vines.  For  adults  and  chil- 
dren, $15.00. 

Circular  Garden-Seat.  —  Recently  im- 
proved. Light,  graceful,  artistic.  No  ob- 
jectionable straight  lines.  Reduced  to 
$18.00. 

Rocks,  Cottages,  Trees,  Bkgd.  Pastels, 
Balustrades,  Fireplaces,  Artificial  Vines  and 
Rosebushes. 

This  advertisement  is  intended  particu- 
larly for  those  who  did  not  attend  the  Con- 
vention. 

We  are  proud  to  mention  that  in  the  prize 
exhibit  of  Mr.  J.  F.  Rvder,  our  backgrounds 
were  used. 

Lafayette  W.  Seatey, 
216  E.  Ninth  St.,  N.  Y. 


Address  T.  W.  Power,  N.  Y.,  Secretary  of 
Association  of  Operative  Photographers  of  New 
York  City,  for  operators,  printers,  and  re- 
touchers, 392  Bowery,  or  487  Eighth  Avenue. 


R0CKI00D  SOLAR  PRINTING-  CO. 

1 1  Union  Square,  New  York. 

TIME. — It  is  our  intention  that  every  ordei 
received  in  the  morning's  mail  (when  not  to  be 
put  on  stretchers)  shall  leave  this  establishment 
the  same  day  or  the  following  morning.  If  too 
late  for  the  morning  work,  it  is  sent  on  the  sec- 
ond day.  Having  our  own  engine  and  electric 
light,  ice  are  not  at  all  dependent  on  the  weather. 
GEORGE  H.  ROCKWOOD, 
Business  Manager. 


W.  F.  ASHE 

ARTISTIC    BACKGROUNDS 

AND 

ACCESSORIES, 

KEMOVED  TO  68  WEST  EOUETH  ST., 
4  Blocks  West  of  Broadway,  N.  Y. 

My  new  studio  is  fitted  up  with  all  the  mod- 
ern improvements,  and  the  most  refined  demands 
from  a  critical  public  can  be  satisfied.  A  visit 
to  my  establishment,  which  has  the  largest 
showroom,  containing  the  greatest  amount  of 
stock  of  any  place  in  the  world,  will  be  grate- 
fully appreciated. 

I  have  again  added  numerous  new  designs  to 
my  great  variety  of  patterns  for  backgrounds 
and  accessories,  and  keep  also  in  stock  a  large 
quantity  of  goods  for  parties  to  select  from, 
saving  time  and  delay  on  orders. 


274 


THE    PHILADELPHIA    PHOTOGEAPH  ER. 


No.  18. 


WAYMOUTH'S 

VIGNETTE 
PAPERS, 


No.  18. 


The  old  form  of  No.  18,  Way  mouth's  Vignette 
Papers,  oval,  has  been  discarded,  and  a  new 
pear-shaped  style  is  now  ready  in  its  place.  It 
is  a  beautiful  piece  of  gradation  and  prints 
perfectly.  Price  $1.25  per  dozen.  For  sale  by 
all  dealers.     See  advertisement  for  all  sizes. 


No.  18. 


NOW  READY. 


No.  18. 


PORTRAITS  IN  CRAYON. 

The  new  book  by  E.  Long,  on  the  art  of 
making  portraits  in  crayon  on  solar  enlarge- 
ments, covers  the  entire  ground,  and  is  sold  for 
the  low  price  of  fifty  cents.     For  sale  by 

Edward  L.  Wilson, 

Philadelphia. 

METAL  GUIDES 

FOR 

A.  M.  COLLINS,  SON  &  CO.'S 
No.  26  Gilt  Bevelled-edge  Cards. 

The  fancy-shaped  mounts  now  so  fashionable 
among  photographers,  require  metal  guides  with 
which  to  cut  the  photographs.  They  are  now 
kept  on  hand,  and  can  be  supplied  in  the  follow- 
ing shapes,  and  at  the  prices  mentioned  : 

Each. 

Cross $1  05 

Star 1  00 

Palette 90 

Leaf 90 

Bell  90 

Crescent 80 

Egg 50 

Triangle 90 

For  sale  by  Edward  L.  Wilson, 

1125  Chestnut  Street, 
Philadelphia,  Pa. 


For  Sale. — A  first-class  gallery  in  Brockton, 
one  of  the  smartest  cities  in  New  England,  doing 
a  good  business.  A  rare  chance  for  a  good  pho- 
tographer. Reason  for  selling,  going  out  of  the 
business.     For  particulars  inquire  of 

D.  T.  Burrell, 

Brockton,  Mass. 


'WILSON'S  PHOTOGRAPHIC S 

Teaclies  how  to  get  rid.  of  every  monster 
and  trouble  in  the  practice  of  the  art. 


$4.00 


$4.00 


SPE  CIAL. 
The  following  list  of  articles  from  the  Photo- 
graphic  Studio,    New   Orleans    Exposition,  are 
offered   at  very  low  prices.     They  are  in   first- 
class  condition  and  as  good  as  new. 
American  Optical  Co.  Printing  Frames,    5x8 

8  xlO 

10  x  12 
14  x  17 

11  x  14 
Holders,    5x8 

10  x  12 
14  x  19 
10  x  12 
14  x  17 

Tripods  and  Negative  Boxes  various  sizes. 

Address  Edward  L,  Wilson, 

il25  Chestnut  Street. 


Am.  Op.  Co.  Double  Dry-Plate 


D.  S.  B.  New  Box 


M.  WEKNEE, 
PORTRAIT    ARTIST, 

No.  102  N.  Tenth  Street,  Philadelphia. 

Photographs  finished  in  crayon,  India  ink, 
water  colors,  and  pastel,  in  all  sizes,  in  the  very 
best  styles,  and  at  moderate  prices. 

Solar  Prints  and  Enlargements  Furnished, 


Every  photographer  in  want  of  excellent 
lenses,  for  any  purpose,  will  best  serve  his  interest 
by  consulting  the  new  illustrated  price-list  of 
Messrs.  Benjamin  French  &  Co.  before  pur- 
chasing. 


THE  PHILADELPHIA  PHOTOGKAPHER. 


275 


WILSON'S  PHOTOG-RAPHICS. 

All  about  emulsion  work  and  plate  mak- 
ing—a whole  big  chapter.     See  index. 

$4.00  Buy  it.  $4.00 


WILSON'S  PHOTOG-RAPHICS 

Holds  up  to  view  all  about  manipula- 
tion, photographic  art,  posing,  lighting, 
etc.  Nearly  4000  sold.  See  advertisements 
and  testimonials. 


$4.00 


$4.00 


SITUATIONS  WANTED. 

Mo  cha  rgefor  advertisements  under  this  head;  limited 
to  four  lines.     Inserted  once  only,  unless  by  request . 


By  a  first-class  retoucher.  Address  C.  W. 
Price,  48  Pine  St.,  Binghamton,  N.  Y. 

By  a  lady  retoucher  in  a  first-class  gallery. 
Will  send  sample  of  work  or  retouch  negative. 
Address  Mattie  Barton,  Jamestown,  N.  Y. 

As  printer,  toner,  and  dark-room  worker,  by 
September  1st.  Address  J.  P.  H.,  440  Penn 
Ave.,  Pittsburg,  Pa. 

As  operator  and  retoucher,  by  September  1st. 
Address  C.  H.  D.,  440  Penn  Ave.,  Pittsburg,  Pa. 

By  a  young  man  to  finish  his  trade.  Good 
printer  and  toner.  Good  reference.  Seven 
months  experience.  Will  work  cheap.  Address 
Jacob  Sheets,  P.  0.  Box  317,  Ashland,  0. 

By  a  first-class  retoucher  until  September  1st 
Pair  wages  and  permanent  position  expected. 
Address  G.Weinig,  72  Laurel  St.,  Syracuse,  N.  Y. 

As  printer,  toner,  or  retoucher.  Not  further 
east  than  Cincinnati  nor  further  west  thiin 
Chicago.  Address  Louis  J.  Dewsurp,  cire 
Entrekin  &  Kuebler,  1204  Chestnut  St.,  Phila- 
delphia, Pa. 

As  printer  and  toner.  Specimens  shown  if 
necessary.     Address  Wm.  Bair,  Salem  Co.,  0. 

By  a  first-class  retoucher.  Good  hand  in  any 
line.  Salary  moderate.  City  or  country.  Ad- 
dress Herrmann,  care  Mr.  Paul  Hartinann,  316 
Broome  St.,  New  York  City. 

As  first-class  retoucher,  printer,  and  toner. 
Address  Herman  Mcllvoy,  Meadville,  Crawford 
Co.,  Pa. 

As  operator  or  retoucher,  or  both.  Can  work 
wet  or  dry  plates.  Address  Photographer,  81 
Spring  St.,  Lexington,  Ky. 

As  operator,  retoucher,  or  general  man.  Best 
references,  Address  Argenti,  161  Main  St., 
Norfolk,  Va. 


276 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


Beck's  Autograph  Rectilinear  Lenses. 


These  extraordinary  lenses  at- 
tracted universal  attention  at  the 
late  Buffalo  Convention  ;  the  speci- 
mens of  work  in  Portraiture, 
Groups,  Landscapes,  Instantaneous 
Views,  etc.,  executed  by  them  being 
of  unequalled  excellence.  A  life- 
sized  head,  made  with  the  8  x  10 
lens  of  13  inches  focus,  was  con- 
sidered by  the  experts  present,  as 
being  far  ahead  of  any  similar  per- 
formance ever  seen.  A  full  de- 
scription of  these  and  our  other 
specialties  will  be  found  in  our  full 
catalogue.     Mailed  Free. 


W.  H  WALMSLBY  &  CO , 

Photographic  Stockdealers.  1016  Chestnut  St.,  Phila.,  Pa. 


THE    ST-AJF*. 


I^-AlTIES. 


3%  x  4^  size,  per  dozen, ^040 

4x51)  »  60 

41/  x  1%     »  >>  68 

*yi  x  6y2     »  »  80 

5  x  7        »  »  1  00 

5x8        »  »  .         .         .         .         .115 

6%  x  &y2    »  >»  1  S3 

8  x  10      »  »  2  35 


10  X  12 

size 

per  dozen,    .... 

$3   35 

II  x  14 

» 

»     ..... 

4  5° 

14  x  17 

» 

»     .    .    . 

6  75 

16  x  20 

» 

» 

10  75 

17  x  20 

» 

» 

12  00 

l8  X  22 

» 

» 

14  00 

20  x  24 

» 

»     ..... 

18  00 

BUCHANAN,  SMEDLEY  &  BROMLEY,  Sole  Philadelphia  Agents, 


No.  25  Worth  Seventh  Street. 


THE  PLATINOTYPE,  Patented.     Send  ten  cents  for  instructions  and  sample,  portrait  or  landscape. 

"WILLIS  &  CLEMENTS,  No.  25  North  Seventh  Street,  Philadelphia,  Pa. 


BUCHANAN,  SMEDLEY  &  BROMLEY, 
GENERAL   AGENTS    FOE    THE    SALE    OF    MATERIAL! 


THE    PHILADELPHIA    PHOTOGEAPHEB.  277 

TO  G-ET  A  PICTURE]  EVERY  TIME,  USE 

THE  VUWDSLEY-DUMONT  DRY  PLATE. 

Made  by  the  Oldest  Dry-Plate  Maker  in  the  United  States. 

Rapid,  Brilliant,  Clean,  Uniform,  and  of  the  Finest  Printing  Quality. 
No  Danger  of  Fog  from  Mat. 

RED  LABEL  SHOWS  TWENTY-FIVE  WARNEOKE. 

WHITE  LABEL  SHOW'S  TWENTY  WARNEOKE. 

BLUE    LABEL    GELATINO-ALBUMEN    TRANSPARENCY    PLATE. 

EVERY  EMULSION  GUARANTEED.    COATED  ON  BEST  ENGLISH  GLASS. 


LOOK  AT  OUR  PRICES: 


Red  or  Blue  White 

Label.  Label. 

3#x4# $0  45  $0  45 

4x5 65  60 

4#x5K, 75  70 

4#x6^ 90  85 

5x7 110  100 

5x8, 1  25  1  15 


Red  or  Blue  White 

Label.  Label. 

8x10, 2  40  2  30 

10  x  12, 3  80  3  65 

11x14, 5  00  4  75 

14  x  17 9  00  8  75 

16x20, 12  50  12  00 

17x20, 13  50  13  00 


6^x8^, 165  1  60      I       18x22, 15  50         15  00 

FOR     SALE     BY     ALL     DEALERS. 

Buchanan,  Smedley  &  Bromley,  sole  Agents  tor  piuiada. 

MANUFACTURED  BY 

THE  MAWDSLEY-DUMONT  DRY  PLATE  CO.,  ROCHESTER,  N.  Y. 


The  PHOTOGRAPHIC  COLORISTS'  GUID 

By  the  late  JOHN  L.  GIHON. 

PHOTOGRAPHIC  COLORING.— The  growing  demand  for  a  fresh  work  on 
Photographic  Coloring,  one  that  contains  full  instructions  on  all  the  new  and  improved 
methods — for,  like  Photography  itself,  Photo.  Coloring  has  improved  and  progressed — has 
led  to  the  publication  of  the  same. 

A  Tremendous  Demand  for  the  Book  continues.    Read  what  it  contains. 


Preface. 

Chap.  I.  On  India-ink  Work. 

II.  The  Principles  to  be  Considered 
in  the  Application  of  Colors. 

III.  The  Materials  used  in  Finishing 

Photographs  with  "Water  Colors. 

IV.  Water-color  Painting  as  Applied 

to  Photographs. 


Chap.  V.  Relative  to  the  Use  of  Paints  that 
are  Mixed  with  Oil. 
VI.  Coloring  with  Pastels. 
VII.  The  Production  of  Ivorytypes. 
VIII.  The  Crystal  Ivorytype. 
IX.  Crayon  "Work. 

X.  Negative  Retouching. 
XI.  About  Matters  so  far  Forgotten. 
XII.  Rudimentary  Perspective. 


e  last  chapter  is  on  a  subject  entirely  new  and  fresh,  and  is  finely  illustrated. 


Mailed  on  receipt  of  price,  $1.50  per  copy. 
EDWARD  L.  WILSON,  Photo.  Publisher,  1125  Chestnut  Street,  Philada. 


278 


THE    PHILADELPHIA    PHOTOGRAPHER. 


1885.—"  NOVELTIES  "  EXHIBITION— 1885. 

OF   THE 

FRANKLIN   INSTITUTE, 

PHILADELPHIA,  U.  S.  A. 


MANUFACTURERS  AND  INVENTORS 


OF 


PHOTOGRAPHIC    NOVELTIES 


WILL  FIND 


THIS  EXHIBITION 

AN  EXCEPTIONALLY  GOOD  OPPORTUNITY 

TO   BEING 

THEIR  LATEST  and  BEST  PRODUCTIONS  to  PUBLIC  NOTICE. 


For  Information,  address 

The  COMMITTEE  ON  EXHIBITION,  Franklin  Institute,  Philadelphia. 


OPENS  SEPTEMBER  15. 


CLOSES  OCTOBER  31. 


THE   PHILADELPHIA   PHOTOGKAPHEK. 


279 


GAYTON  A.  DOUGLASS. 


HENEY  G.  THOMPSON. 


Douglass,  Thompson  &  Co. 

229  &  231  State  St,  Chicago,  111. 

MEECHAFTS  IN  SUPPLIES  FOE  THE 

Art-Soienoe  of  Pliotograpliy 

Photographers'  Booksellers,  Stationers,  and  Newsdealers. 

CARBUTT'S 

Keystone  Dry  Plates 

AND  PHOTOGRAPHIC  SPECIALTIES. 

Specials  for  Portraiture. 

A.  for  Transparencies. 

B.  for  Landscapes  and  General  Pho- 
tography. 

OPAL    PLATES,  Gelatino-Albumen  or  Gelatino- 
Ohlorides,  for  Positives  and  Transparencies, 


Multum  in  Parvo  Dry-Plate  Lantern. 

Carbutt's  Pyro.  and  Potash  Developer,  Concentrated, 
Two  8oz.  bottles  75  cents. 

Kuby  Paper  and  Negative  Varnish, 


FOR  SALB  BY  ALL  DEALERS. 


JOHN  CARBUTT,  Keystone  Dry-Plate  Works, 

Wayne  Junction,  Philadelphia,  Pa. 

HODGE   &  HUSTON, 

THE   SOLAR   PRINTERS, 

622  Arch  Street,  Philadelphia. 

PERMANENT  PRINTS  BY  THE  PLATINUM  PROCESS. 
ELECTRIC  LIGHT. 


280  THE    PHILADELPHIA    PHOTOGKAPHEK. 

PASSAVANTS  DRY  PLATES 

ARE  CONCEDED  RT  THE  LEADING  PHOTOGRAPHERS 
OF  THE  PACIFIC  COAST  TO  BE 

THE  BEST  AND  MOST  RELIABLE  IN  THE  MARKET. 


CIP, 
HL. 


Specially  for  Portraiture  and  Instantaneous  Views, 
requiring  one-half  the  time  of  other  Dry  Plates, 
working  with  great  softness,  and.  delicacy. 

For  ordinary  Studio  Work  and  Landscape. 


^ PRICE 

LIST. ^ 

Per  Doz. 

Per  Doz. 

Per  Doz. 

3XX4X,     • 

.     .  SO  60 

5x8,. 

.      -    $1    75 

11  x  14, 

.     .     $6  50 

4x5,. 

.     .          90 

6^x8^,      . 

.     .     2  30 

14x17,      . 

.     .     12  00 

4^x6^,      . 

.     .     1  20 

8      x  10, 

.     .     3  40 

17x20, 

.     .     20  00 

5x7, 

.     .     1  75 

10  x  12, 

.     .     5  00 

18x22, 

.     .     24  00 

Numerous  testimonials  from  all  parts  of  the  States  at  hand.     Try  them. 

Passavanfs  Photographic  Dry  Plate  Factory, 

306  GUERRERO  STREET,  SAN  FRANCISCO,  CAL 

OSCAR    FOSS,    SOLE    AGENT    FOR    THE    PACIFIC    COAST. 


OUR  SPECIALTIES 


BROMIDE  AMMONIUM,  Chem.  Pure. 

BROMIDE  POTASS.,  Chem.  Pure. 

NITRATE  SILVER,  Chem.  Pure. 

FOR  DRY  PLATES. 

CROSS-SWORD    DRESDEN    ALBUMEN    PAPER, 
Single  and  Extra  Brilliant.    The  Best  in  the  Market. 

ALSO  A  GENEEAL  LINE  OF 

PHOTOGRAPHIC   CHEMICALS. 

A  circular,  "  How  to  Save  Waste,"  sent  on  application. 

OHAS.  COOPER  &  CO. 

194  Worth  St.,  New  York 


THE    PHILADELPHIA    PHOTOGKAPHEB. 


281 


720  (5  gross)  of  these  trimmers  were  sold  to  one  party  in  Jxily. 


ROBINSON'S 
NEW  MODEL 


PHOTOGRAPH  TRIMMERS ! 


These  invaluable  instruments  are  already  used  all  over  the  country,  and 
now,  a  change  of  form  having  permitted  an  immense  reduction  in  price, 
they  must  soon  be  UNIVERSALLY  USED  as  they  afford  a  quicker, 
better,  and  less  expensive  means  of  trimming  photographs  than  any  other. 
The  inventor  assures  photographers  that  his  trimmers  can  be  used  with 
greater  ease  when  held  as  indicated  in  the  drawings  below.  These  trim- 
mers are  now  made  entirely  of  metal,  and  in  quality  are  fully  equal  to  those 
of  the  old  model.  They  answer  for  oval,  round,  arch  top,  and  square 
work. 


Plan  of  holding   the  Straight    Cut  Trimmer 
when  in  use.    PRICE,  50   CENTS. 


Plan  of  holding  the  Revolving  Trimmer  when  in 
se.     PRICE  (with  one  card  guide)  $1.00. 


OBI  HNTSOKT'S     C3-  XJ  I  I>  E3  S- 

MADE   OF   SHEET-IRON. 
We  have  the  following  Regular  Sizes  always  on  hand  at  io  cents  per  inch  the  longest  way  of 
the  aperture. 

SQUARE  OB,  ROUND  CORNERED. 

2i  x3|  2^x3|  2fx4£  4x5f 

2|x3|  2^x31  2£x4§        4£x5| 

2£x3|  2£x4i  3£x5i         3£x6 


'  2x2£ 
2Jx3£ 

2tx3t 

2fx3| 
21x41 


ov 

ALS. 

3|x4f 

5x7 

6ix8i 

3fx4f 

5ix7i 

6Jx8£ 

3Jx4| 

5Jx7£ 

7x9 

3fx5£ 

5fx7f 

7£x9i 

4x5| 

5|x7f 

7£x9£ 

4fx6f 

6x8 

7|x9| 

2^x3if  4x6^ 

FOR  STEREOGRAPHS. 

Arch  Tops.  Round  Cornered.  Round. 

3TVx3|,  3x3         3T^x3|,  3x3  3x3 


The  above  sizes  suit  the  Collins  Card  Mounts,  and  photographers  knowing  that  they  can  be 
always  had  at  the  low  price  of  ten  cents  per  inch,  would  do  well  to  make  their  sizes  accord,  a  s 
orders  can  also  be  filled  more  quickly.     Ten  days  are  required  to  make  special  sizes. 

Special  Sizes  made  to  order,  at  15  cents  per  inch,  the  longest  way  of  the  aperture. 

ROBINSON'S  PHOTOGRAPH  TRIMMERS  are  substitutes  for the  Knife  for  Trimming 

Photographs,  and  do  the  work  much  more  expeditiously  and  elegantly. 

They  Save  Time,  Save  Prints,  and  Save  Money. 

They  do  not  cut,  but  pinch  off  the  waste  paper,  and  leave  the  print  with  a  neatly  beveled  edge 
which  facilitates  adherence  to  the  mount.  Try  one,  and  you  will  discard  the  knife  and  punch  at 
once.     For  ovals  and  rounded  corners  they  are  worth  their  weight  in  gold. 

SdAS  EDWARD  L.  WILSON,  Manufacturer's  Agent,  1125  Chestnut  St.,  Pnilada. 


282 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


a 


THIES    MiOUKTD    OITY 


?? 


Photographic  Stock  House 

Offers  the  Most  Complete  line  of 

Photographic    Apparatus,    Chemicals, 

Picture  Frames,  Mouldings,  Mats, 

Albums,   Etc.,   in   the    market, 

at  bottom  prices. 

Professional  and  Amateur  Outfits  a  Specialty. 

AGENT  FOR 

KUHN'S  LIGHTNING  DRY-PLATE  INTENSIFIED 

AND 

KUHN'S  SENSITIZED  PAPER  STRETCHER  AND  DRYER. 

Address 

H.  A.  HYATT, 

8th  &  Locust  Sts., 

ST.  LOUIS,  MO. 

Send  for  Illustrated  Catalogues  of  Photographic  Goods  and  Picture  Frames. 

ALBERT  MOORE  ™  SOLAR  ENLARGER, 

THE  LONGEST,  LARGEST,  AND  BEST. 

828  Wood  Street,  Philadelphia. 

PHOTOGRAPHISCHE  MITTHEILUNGEN. 


We  are  now  prepared  to  receive  subscriptions  for  Dr.  Hermann  W.  Vogel's  magazine  bearing 
the  above  title. 

The  MITTHEILUNGEN  is  published  in  German  and  is  issued  semi-monthly  at  $3.00  per  year, 
postage  paid.  To  all  of  our  German  photographers  and  many  others  this  will  be  considered  a 
desirable  opportunity. 

The  Magazine  is  published  at  Berlin.     Subscriptions  received  by 

EDWARD    L.   WILSON, 

1125  Chestnut  Street,  Philadelphia,  Fa. 


THE    PHILADELPHIA    PHOTOGRAPHER. 


283 


WILSON'S  PHOTOGRAPHIC 


.1. .<§>. .j- 


THE  PHILADELPHIA  PHOTOGRAPHER. 

A  monthly  Magazine,  illustrated  by  pho- 
tographs of  superior  merit.  $5.00  a  year ; 
$2.50  for  six  months. 

Stands  ahead  of  all  its  kindred.  Eighteen  years  of 
success  is  a  sufficient  guarantee  of  its  value  and  use  to 
the  practical,  working,  growing  photographer.  Do  not 
go  without  its  valuable  help. 


WILSON'S  JPHOTOGRAPHICS 

THE  NEWEST  AND   MOST   COMPLETE 

PHOTOGRAPHIC   LESSON-BOOK, 

Covers  Every  Department. 

352  Pages.    Finely  Illustrated.     Only  $4.00. 

By  Edward  L.  Wilson. 


WILSON'S  LANTERN  JOURNEYS. 

By  Edward  L.  "Wilson.     In  Three  Vols. 
Price,  $2.00  per  vol. 

For  the  lantern  exhibitor.  Gives  incidents  and  facts 
in  entertaining  style  of  about  2000  places  and  things, 
including  200  of  the  Centennial  Exhibition. 


THE  PROGRESS  OF  PHOTOGRAPHY 

SINCE   1879. 

By  Dr.  H.  Vogel.     Price,  $3.00. 

Issued  July  loth,  1883.     A  splendid  work. 


BIGELOW'S  ARTISTIC  PHOTOGRAPHY. 

Price  reduced  to  $4.00. 

For  the  lover  of  art.  Beats  his  "  Album  of  Lighting 
and  posing."  Superb  !  With  twelve  photographs  and 
instructions. 


THE  FERROTYPER'S  GUIDE. 

Price,  75  cents. 

Cheap  and  complete.     For  the  Ferrotyper,  this  is  the 
only  standard  work.     Seventh  thousand. 


STUDIES  IN  ARTISTIC  PRINTING. 

By  C.  W.  Hearn.     Price,  $3.50. 

Embellished  with  six  fine  cabinet  and  promenade 
portrait  studies. 


PICTORIAL  EFFECT  IN  PHOTOGRAPHY. 

By  H.  P.  Bobinson.     For  the  Art  Photog- 
rapher.   Cloth,  $1.50.    Paper  cover,  $1.00. 


THE 
PHOTOGRAPHIC  C0L0RISTS'  GUIDE. 

By  John  L.  Gihon.     Cloth  bound,  $1.50. 

The  newest  and  best  work  on  painting  photographs. 


PHOTOGRAPHIC  MOSAICS,  1885. 

Cloth  bound,  $1.00 ;  paper  cover,  50  cents. 
Back  volumess.  same  price. 

Better  than  any  of  its  predecessors. 


COPIES  MAILED  POST-PAID  ON  RECEIPT  OF  PRICE. 

EDWARD  L.  WILSON, 

Photo.  Publisher.  1125  Chestnut  St.,  Phila. 


284  THE    PHILADELPHIA    PHOTOGEAPHEE. 


THIS  FAVORITE  ANNUAL  NOW  READY. 

144  PAGES.— 50  CENTS;   CLOTH  COVER,  $1.00—144  PAGES. 

CONTENTS. 


A  Pot  Pouri  of  the  Past. 

Bits  of  Experience.     Geo.  H.  Croughton,  Phila. 

How  Rapid  are  Dry  Plates?      H.   D.   Garrison, 

Chicago. 
The   Photographic   Dude.      J.    Pitcher    Spooner, 

Stockton,  Cal. 
My  Developer.     Wm.  McComb,  Muskegon,  Mich 
A  Hint  for  the  New  Year.     Marcus   H     Rogers, 

N.  Brimfield,  Mass 
Energy.     R.  E.  Wood,  St.  Helena,  Cal. 
A  Rapid  Emulsion.     Geo.  Sperry,  Evansville,  Ind. 
Amateur  Photography  a  Teacher.     A.  B.ogardus, 

New  York. 
A  Few  Photographic  Hints.     H.  K.  Seybold. 
Photographic  Experiences.     Dr.  G.  F.  H  Bartlett, 

Buffalo,  N.  Y. 
Something  Not  Necessarily  Dry.    Chas  E.Emery, 

Silver  Cliff,  Col. 
Elevate  Ourselves   First       J.  C.  Moulton,  Fitch- 
burg,  Mass. 
Photo  -Hash.     J.  A.  Sheriff,  San  Diego,  Cal. 
Weak  or  Strong  Development.    Dr.  H.  Sturenberg. 
How  to  Develop  Landscapes  upon  Dry  Plates,  or 
a  Method  of  Testing   Plates   whose   Time   of 
Exposure  is  Unknown.     Dr   H.  W.  Vogel 
How   to    Make    Home-made    Retouching    Lead. 

Chas.  Latham,  Bradford,  Pa. 
Something  About  Blisters.     B.  T.  Rice,  Frankfort, 

Kansas. 
How    to    Number    Negatives.       H.    S.    Stevens, 

Keene,  N.  H. 
A  Few   Things  to   Save   Money.     H.  G.  Parcell, 

Kingsville,  Mo 
An  Amateur's   Views  on  Prices.     W.  R.  Trippe, 
Goshen,  N.  Y. 
,  How  I   Got   White   Streaks   on   my   Stereoscopic 
Negatives.     J.  J    Eskill,  Florence,  Wis. 
Practical      E   E.  Van  Epps,  Hanover,  Kansas. 
How  I  Clean  Varnished  Films  from  Old  Negatives. 

E.  D.  Ritton,  Danbury,  Conn. 
A  Good  Copying  Paper.     Dr.  Stevenberg. 
.  A    Few    Notes    for    Mosaics.     Will  A.   Triplett, 
Bluffton,  O. 


27.  The  Lesson  to  Learn.      M.  H.  Albee,  Marlboro, 

Mass. 

28.  To    Know    How.      S.    P.  Tressler,    Fort    Scott, 

Kansas. 

29.  Whither  are  we  Drifting?     H.  B.  Hillyer,  Austin, 

Texas. 

30.  The  Best  Dry  Plate  Developer.   Dry  Plate  Maker. 

31.  The    Cincinnati    Convention.     Chas.    T.    Stuart, 

Hartford,  Conn 

32.  Home-made   Dry   Plates.     Jay  Densmore,  Niles, 

Mich. 

33.  Practical,    Pointed,    and   Clear.     John  D.  Miller, 

Elizabethtown,  Pa. 

34.  A   Very    Convenient   Washing  Box      Mrs.  E.  N. 

Lockwood,  Ripon,  Wis 

35.  On  the  Reduction  of  Negatives.     H.  K   Seybold. 

36.  A  Warning.     Henry  Piatt,  Nantucket,  Mass 

37.  Slow  Development — a  Word  to  Beginners.     Alfred 

Ganze. 

38.  Home-made  Plates      Ranald  Douglass,  E.  Gardi- 

ner, Mass. 
39    A  Cleaning  Solution  for  Gelatine   Negatives  and 
Positives.     R   G.  Weiss. 

40.  Gleanings  From  my    Last  Year's   Reading.     Old 

Gray-beard. 

41.  An   Automatic   Washing   Tank.     Geo.    W.  Leas, 

Peru,  Ind. 

42.  Smoked  Negatives.    W.  H.  Sherman,  Milwaukee, 

Wis 

43.  Hints  to  Amateurs.  Xanthus  Smith,  Philada.,  Pa. 

44.  A  Workman's  Idea.     H.  S.  Keller,  Utica,  N.  Y. 

45.  About  Prices.     John  C    Patrick,  Batavia,  N.  Y. 

46.  Exposure      Ellerslie  Wallace,  M.D.,  Philada. 

47.  On  the  Delectable  Dry.     Wm.  H.  Rau,  Philada. 

48.  Photography  in  its  Relation  to  Art.  John  Bartlett, 

Philada. 

49.  The  Attractive  Properties  of  a  Photograph.     CM. 

French,  Garrettsville,  O. 

50.  A  New   Method   of  Developing   Dry  Plates.     D. 

Bachrach,  Jr.,  Balto.  Md. 

51.  Our  Way   is   our   Hobby.     Miss  H.  H.  Flanagin, 

Woodstown,  N.  J. 

52.  "Nothing  to  Say."     J.  H.  Hallenbeck,  N.  Y. 


EDWARD  L.  WILSON,  Photo.  Publisher,  No.  1125  Chestnut  Street,  Philada. 

FOB  SALE  BY  ALL  DEALEBS. 


THE  PHILADELPHIA  PHOTOGRAPHEK. 


285 


SOOVILL'S 

NEGATIVE  WASHING  BOXES. 


GUARANTEED  NOT  TO  RUST. 

It  is  necessary  at  a  certain  stage  of  development  to  remove  from  photographic  nega- 
tives all  traces  of  Hyposulphite  of  Soda,  and  it  is  not  generally  convenient  to  place  them 
where  water  will  flow  over  their  surface  a  sufficient  length  of  time  to  accomplish  this  effec- 
tually, without  injury  to  the  sensitive  film.  To  watch  the  plate  is  to  waste  time.  The 
flow  over  it  should  be  with  gentle  force.  This  can  best  be  regulated,  and  a  thorough 
cleansing  from  Hyposulphite  of  Soda  of  every  portion  of  the  negative  be  assured,  by  the 
employment  of  one  of  the  Negative  Washing  Boxes  above  pictured.  Plates  are  simply 
slid  into  the  grooves,  a  guarantee  that  the  film  will  not  be  disturbed  or  marred ;  a  bit  of 
hose  is  slipped  over  a  tap,  and  then  at  the  other  end  over  the  spout  on  the  box.  If  need 
be,  another  section  of  rubber  tubing  is  used  to  carry  off  the  waste  water  to  an  outlet. 
After  this  simple  preparation  the  Washing  Box  is  in  readiness  for  service. 


1 

<L^e,             1    IblUI^     JUlOl 

-®vj 

ro.  i, 

for3Jx    A\ 

Plates,  .           .           . 

.    $1  20 

"  2, 

"4x5 

"        . 

1  25 

"   3, 

"    4|x    5* 

<t 

1  30 

"   4, 

"    4^x    6* 

<i 

1  35 

"   5, 

"5x7 

u 

• 

1  40 

"   6, 

"5x8 

ft 

1  50 

"  7, 

"    6£x    8J 

u 

1  75 

"   8, 

"    8    xlO 

(I 

2  25 

LARGER  SIZES  MADE  TO  ORDER. 
Painted  Negative  Washing  Boxes,  d  O  cts.  additional  for  each  size. 

Oloth  Rubber  Hose  Supplied  for  the  above  Boxes  at  28  cts,  Per  Foot. 
SCOVILL  MANUFACTURING  CO. 


286 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


A  SPLENDID  THING  FOR  PHOTOGRAPHERS. 

.A.     METALLIC 

PROTECTING    CASE, 

With  Glass  Bottle  and  Graduate  Tumbler,  for  Photo.  Developer 
and  other  Solutions. 

Those  who  have  worked  in  the 
field  have  wished  very  often  for  some 
safe  method  of  carrying  with  them 
their  developer  and  other  chemicals  in 
solution.  A  most  useful  article  is  in 
the  market  which  answers  the  purpose. 
We  allude  to  the  patent  metallic  pro- 
tecting cases  invented  for  similar  pur- 
poses. The  bottles  may  be  of  ordinary 
shape  so  they  fit  the  metal  case,  which 
latter  is  drawn  from  solid  metal,  with 
a  locking  ring  on  each  case  to  afford 
perfect  protection  for  the  bottles  con- 
taining the  liquids  which  are  trusted 
to  their  care.  They  are  made  of  dif- 
ferent sizes :  bottles  of  one,  two,  four, 
and  eight  ounce  mixtures,  and  each 
case  is  made  adjustable  to  bottles  of 
different  lengths.  They  are  made  very 
light,  and  the  corrugation  makes  them 
so  strong  as  to  resist  crushing.  They 
can  be  packed  in  any  position.  The 
metal  is  drawn  of  even  thickness 
throughout,  by  machinery  which  has 
the  weight  of  thirty  thousand  pounds. 

The  first  figure  represents  the  case 
closed,  and  the  second  open  with  the 
bottle  therein.  The  use  of  this  arrange- 
ment assures  the  photographer  that  he 
has  a  safely  kept  stock  on  hand  of  any 
needful  solution. 

^ — + PRICE  LIST. + — ^ 

Diameter,  \yz  in.    Length,  3V2  in.     Weight,  4J£  oz.    Furnished  with  1  ox. 
hottle,  each,     .  .        7       .         .        . $050 

Diameter,  2  in.    Length,  5%   in.    Weight,  7%   ox.    Furnished  with 
4  ox.  bottle,  with  tumhler,  making  %  pint  flask,  each, 0  85 

Diameter,  2J|    in.     Length,   7  in.     Weight,  14   oz.     Furnished  with 


No.  1. 
No.  3  A. 

rjO.    *&   O..     8  ox.  bottle,  with  tumbler7 making  %  pint  flask,  each 

Nft     I*?    A  Diameter,  2%   in.    Length,  6  in.    "Weight,  17  ox.    Furnished  with 

11 U.   1U   A.     8  oz.  bottle,  with  tumbler,  making  %  pint  flask,  each,  .        .  .180 


1  10 


H^TRY    THEM.      NO    MORE    LEAK   OR   BREAK 

SCOYILL  MANUFACTURING  CO, 


W.  Irving  Adams,  Agent. 


423  Broome  Street,  New  York. 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


287 


C3r.   OESrsriSTES 
No.  54  East  Tenth  Street,  New  York. 


SOLE  IMPORTER  OP 


C.  BOHMKE  &  CO.'S  IMPROVED  APLANATS. 

THE  BEST  LENSES  FOR  PORTRAIT,  RAPID  LANDSCAPES 
AND  GROUPS  YET  INTRODUCED. 


Mr.  Bohmke,  who  has  been  superintending  foreman  for  Voigtlander  &  Son  for  25 
years,  has  lately  brought  out  the  above  designated  instrument,  which  is  in  every 
respect  equal,  if  not  superior,  to  the  "Euryscope,"  combining  a  large  field,  perfect 
definition  and  brilliant  illumination  in  the  highest  possible  degree. 


MANUFACTURERS  OF  PURE 


Photographic  Chemicals, 

JIo.  622  Jlace  Street,  Philadelphia. 


The  Standard  Quality  and  Purity  of  our  Chemicals  make  them  the  most 
desirable  and  reliable  for  photographic  use. 


-fe+STOCKDEALERS   ONLY  SUPPLIED.* 


flJTOEPS  of  G0J,p  and  SIJ.Y£J1  WASTE- 

Waste  sent  through  Stockdealers  will  receive  prompt  attention. 


288  THE    PHILADELPHIA    PHOTOGEAPHEE. 


A    GREAT  SUCCESS! 


THE 

NEW  DRESDEN  ALBUMEN 


THREE  CROWN  PAPER. 


#    *    <g> 

DRESDEN  ALBUMEN  PAPER 


^JadeMa^ 


^JadeMj^ 


ForSaleby  all  Photo.  Stockcfea/ers. 


SGOVILL  MANUFACTURING}  CO., 

NEW  YORK. 


THE    PHILADELPHIA    PHOTOGRAPHER. 


289 


On  and  after  March  1st,  I  will  make  the  following  Reduction : 


3XX4X 

4  x5 

5  x  7 


.       $    45 

5x8 

$1  25 

14x17 

65 

6^x8^       . 

1  65 

16x20 

75 

8      x  10 

2  40 

17x20 

90 

10  x  12 

3  80 

18x22 

1    10 

11   x  14 

5  OO 

20  x  24 

#9  00 

12  50 

13  OO 
15  50 
18  50 


CRAMER'S  LIGHTNING  PLATES. 


ff^ 


^e) 


TO  MEET  THE  DEMAND  FOR 

An  Extremely  Rapid  Plate 

I  am  now  making  the  above  new  brand  (blue  label),  which  is  about  twice  as  rapid 
as  my  "Extra  Kapid"  and  nearly 


THIS  NEW  PLATE  COMBINES 

EXTREME  RAPIDITY, 

FINE  CHEMICAL  EFFECT, 

PERFECT  CLEARNESS, 

GOOD  INTENSITY, 

EASY  TO  DEVELOP, 

And    CANNOT    BE    EXCELLED. 


For  all  cases  where  Extraordinary  Rapidity  is  desirable  and  for  Large 
Work  these  "Lightning  Plates"  will,  upon  trial,  prove  their  superiority  over 
all  others. 

My  regular  brand,  the  "Extra  Rapid"  (yellow  label),  which  is  so  well 
known  and  sufficiently  sensitive  for  general  use,  will  be  kept  up  to  its  usual  high 
standard. 

BOTH  BRANDS  SAME  PRICE. 

WILL    BE    FOR    SALE    BY    ALL    DEALERS. 


DRY-PLATE  WORKS,  ST.  LOUIS,  MO. 

5 


290  THE    PHILADELPHIA    PHOTOGKAPHEK. 


GIHON'S 

CUT-OUTS 

An  Entirely  New  Variety  for 

Printing  Medallion  Pictures. 


Are  the  very  best  that  are  made,  and  are  now  without  a  rival  in  the  market.  The}'  are  clean 
cut,  most  desirable  shapes  and  sizes,  and  made  of  non-actinic  paper,  manufactured  specially  for  the 
purpose.  Each  package  contains  30  Cut- Outs,  or  Masks,  with  corresponding  Insides,  assorted  for 
five  differently  sized  ovals  and  one  arch-top. 

Price,  $1.00  per  Package.    Sent  by  mail  on  receipt  of  price. 

Parties  wishing  special  sizes,  or  large  lots  of  a  few  sizes,  may  have  them  cut  to  order  promptly, 
by  addressing  the  manufacturer.      No  lot  costing  less  than  $1.00  made  at  a  time. 
J^*"No  printer  should  attempt  to  make  Medallion  Pictures  without  them. 

They  Have  no  Equal  for  Quality. 

Beware  of  spurious  imitations  made  of  common  paper,  full  of  holes,  badly  cut,  and  odd  shapes  and 
sizes.  Ask  your  Stock-dealer  for  GIHON'S  CUT-OUTS,  and  see  that  they  are  in  his  envelope,  with 
instruction  circular  included.  The  recent  packages  are  composed  of  an  entirely  new  variety  and  ot  a 
new  paper.     TRY  THEM. 

Promenade  Size  now  Eeady,        Sold  Separately  at  50  cents  per  Dozen. 


GIHON'S  OPAQUE 

Is  designed  for  Completely  obscuring  the  Imperfect  Backgrounds  of  Copies,  Retouching  Nega- 
tives, Faulty  Skies  in  Landscapes,  Coating  the  Inside  of  Lenses  or  Camera  Boxes, 
Backing  Solar  Negatives,  Covering  Vignetting  Boards, 
And  for  Answering  all  the  Eequirements  of  the  Intelligent  Photographer  in  the  Production 

of  Artistic  Results  in  Printing. 

Wherever  you  want  to  keep  out  Light,  use  Opaque. 

IT  IS  APPLIED  WITH  A  BRUSH,  DRIES  QJJICKX.Y  AND  STICKS. 


CUT-OUTS  (thirty),  $1.00.         OPAQUE,  50  Cents. 

FOR  SALE  BY  ALL  DEALERS. 


Address  all  orders  to 

SC0VILL  MANUFACTURING  CO.,  New  York. 


THE    PHILADELPHIA    PHOTOGKAPHEP.  291 

BEST 

^    DRESD^ 

EXTRA  IfM!  BRILLIANT 

4^C/MENPAV^ 

Ever  Offered  to  Photographers. 

WHITE,  PINK,  PENSE. 


FREE  FROM  BLISTERS  AND  IMPERFECTIONS. 


A  NEW  PAPER.    NOW  READY. 

EAGLE  SATIN  FINISH, 

IN  PENSE  AND  PEARL. 

Although  my  importations  of  paper  have  had  a  most  satisfactory  sale,  and  the  old  favorite 
brands  will  be  continued  in  the  market  of  the  same  quality,  I  have  a  New  Brand  which  I  offer 
for  public  favor  which  I  believe  to  be  SOMETHING-  SUPERIOR. 

«^$36.00  A  REAM.^       «§^A  REAM  $36.00.^ 

FOB  SALE  BY  ALL  DEALEBS. 

IMPORTED  BY 

G.  GENNERT, 

54  B.  TENTH  ST,  NEW  YORK. 


FOR   SALE    BY    ALL.   DEALERS. 


292  THE    PHILADELPHIA    PHOTOGRAPHER. 

A.  M.Collins,  Son  &  Co. 

MANUFACTURE   ALL     KLJVDS    OF 

CARDS  AND   CARDBOARDS 

FOR 

Photographer'^ 


AND 


MATS,  MOUNTS.  AND  ENVELOPES 


J 

FOR 


FERROTYPES. 


OFFICE  AND  WAREHOUSE, 

No.  527  ARCH  STREET, 

PHILADELPHIA. 


Price  Lists  may  be  had  by  intending  purchasers  on  application 

to  us,  or  to  all  Photographic  Merchants,  through  whom 

your  favors  are  respectfully  solicited. 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


293 


TDFL^T     THEM! 


WATMODTH'S  VIGNETTE  PAPERS. 


No.  VStf, 

THE 

Ormsliy  Patten, 

PEAR  SHAPE 

Now  Ready, 

$1.00  PER  DOZ. 


They  are  not  clumsy  ;  do  not 
break;  are  always  ready ;  cost 
but  little,  and  are  easy  of  appli- 
cation to  any  negative.  They 
need  but  one  adjustment  toprint 
any  quantity.  They  entirely 
do  away  with  all  the  old  and 
troublesome  methods,  either 
wood,  metal,  or  cotton. 


19  Sizes 


AEE 


Now  Made 

PEAR  SHAPE. 

Prices  Below. 

SEE  TESTIMONIALS. 


They  are  printed  in  black  ■ 
for  ordinary  negatives,  yellow 
bronze  for  thin  negatives,  and 
red  bronze  for  still  weaker  ones. 
Directions  for  use  accompany 
each  parcel. 


SEE  WHAT  THOSE  WHO  USE  THEM  SAY. 

The  Vignette  Papers  are  just  the  thing.  They  are  a  great  improvement,  and  will  print 
in  little  more  than  half  the  time  required  for  others.  The  results  are  everything  that  can 
he  desired,  as  you  can  see  by  samples  inclosed.  E.  D.  ORMSBT,  San  Francisco. 

FROM  PROFESSIONAL  AND  AMATEUR  PHOTOGRAPHERS. 

"  First-class." — "  The  sample  sent  answers  perfectly." — "  I  consider  them  first-rate  articles." — "  They  answer  the 
purpose  admirably." — "  They  are  the  best  vignettes  I  have  ever  had,  and  as  you  can  print  in  lull  sunlight,  they  are  a 
great  saving  of  time." — "  They  could  not  be  better,  oblige  me  with  another  packet." — "  I  find  them  excellent,  giving 
much  softer  pictures  than  the  old  way."—"  I  have  tried  one  of  the  Vignette  Papers,  an  J  hke  it  much ;  send  me 
packets  two  and  three." — "  I  am  much  pleased  with  them,  and  shall  thank  you  to  send  me  anotner  packet." — "I  did 
not  need  any  copies  of  testimonials,  having  well  known  by  experience  that  your  Vignette  Papers  were  superior  to 
anything  I  have  ever  used." — "  I  found  those  you  sent  before  excellent." — "  Vignetting  Papers  received  and  tested  ; 
can't  be  beat.  I  use  by  cutting  an  opening  in  a  piece  of  card-board  and  tacking  to  the  printing-frame,  when  I  am  ready 
for  printing  vignettes  in  the  very  best  manner." — "  Waymouth  Vignette  Papers  I  have  tried,  and  they  are  just  what  I 
have  been  wanting  for  years." 

THOSE  WHO  SELL  THEM! 


ALL  STOCK-DEALERS 


INCREASE 
THEIR 


ORDERS  LARGELY 


EVERY 
MONTH 


Better  than  any  patent  machine— trouble,  and  sell  better  every  month. 

PRICES: 

In  parcels  containing  one  dozen,  assorted,  from  Nos.  1  to  5 $0  50 

In  parcels  containing  one  of  each  size,  Nos.  1  to  15,  assorted  colors. 1  00 

Assorted  sizes  and  colors,  by  number,  per  package  of  15 1  00 

Nos.  1,  2,  3,  4,  and  5,  assorted  sizes  and  colors,  tor  Cartes,  by  number,  per  doz 50 

"     a   o'  in'  12,  anci  13'    *          "                  "       Large  Cartes  and  Victorias  by  number,  per  doz 75 

»     8,  9,  10,  14,  15,  and  15%,  assorted  sizes  and  colors,  Cabinets  and  Whole-size,  by  number,  per  doz 1  00 

"     16»  17,  18,                                ,,                 „             „       Half           »               »                     »               »       125 

When  ordering,  state  the  number  and  color  you  want. 

EDWARD  L.  WILSON,  Manufacturer,  1125  Chestnut  St.,  Philad'a. 

FOR  SALE  BY  ALL  DEALERS. 

No.  18,  PEAR  SHAPE,  LAST  INTRODUCED,  $1.25. 


294  THE    PHILADELPHIA    PHOTOGRAPHER. 


HANCE'S 

—SPECIAL 


SPECIALTIES. 

I  Anderson's  Portrait  Collodion. 
This  is  especially  a  Winter  Collodion,  and  guaranteed  to  work  with  the  loveliest  har- 
mony, and  the  most  exquisite  softness,  and  freedom  from  all   the  winter  troubles 
which  Photographic  Collodion  is  heir  to.     fi@*  None  genuine  unless  the  signature  of  Elbert 
Anderson,  the  great  dark-room  operator,  author,  etc.,  is  pasted  over  tne  cork  of  the  bottle. 

II  "~ 


Ground  Glass  Substitute. 


Is  an  indispensable  article  in  the  photographic  gallery.     There  are  so  many  uses 
to  which  it  can  be  applied  that  a  photographer  having  once  given  it  a  trial,  will 

never  be  without  it,  as  there  is  nothing  known  that  will  take  its  place. 

The  substitute  is  in  the  form  of  a  varnish,  is  flowed  and  dried  the  same  as  varnish,  but 

dries  with  a  granulated  or  ground-glass  surface. 

For  Ground  Glass  for  Cameras. 


For  "Vignette  Glasses. 
"    a  Retouching  Varnish. 
"    Softening  Strong  Negatives. 
"    the  Celehrated  Berlin  Process 


"     Glazing  Shy  and  Side  Lights. 

"     Obscuring  Studio  and  Office  Doors. 

"     Printing  Weak  Negatives. 

All  imitators  have  given  it  up.     They  can't  make  it,     GIVE  IT  A  TKIAL. 


PRICE,  50  CENTS  PER  BOTTLE. 


Ill 


Hance's  Delicate  Cream  Gun 

C/OttOn  Is  the  King  Cotton,  and  has  no  peer. 


Prepared  with  particular  care,  warranted  free  from  acid,  and  very  soluble.  It  has  made 
its  way  steadily  and  surely  into  most  of  the  principal  galleries  in  the  country,  where  parties 
prefer  to  make  their  own  collodion,  and  its  superior  qualities  are  shown  in  the  medals 
awarded  at  the  Centennial,  Vienna,  and  Paris  Exhibitions  fur  photographs  made  with  col- 
lodion in  which  it  was  used. 

It  is  especially  adapted  to  the  Rembrandt  style,  and  light  drapery.  Its  sensitiveness 
renders  it  particularly  adapted  for  children  or  any  work  that  requires  short  exposure,  though 
admirable  as  well  for  all  work. 

PRICE,  80  CENTS  PER  OUNCE. 

Also,  TRASK'S  FERROTYFETfl  f 5 1   ?A  IH  ft  1\T 
HANCE'S  DOUBLE  IODIZED  jl/UllllUVlUll 

PRICE,  $1.50  PER  POUND. 

FOE  SALE  BY  ALL  STOCK-DEALEES,  NO  EETAIL  OEDEES  FILLED.  OEDEE  OF  YOUE  DEALEE 

SCOVILL  MFG.  CO.,  TRADE  AGENTS,  NEW  YORK. 


THE   PHILADELPHIA   PHOTOG  R  A  PHEE. 


295 


OPTICAL  LANTERNS 


AND 


LANTERN  SLIDES. 

Nearly  Twenty  years'  experience  as  a  Dealer,  Manufacturer,  and  User  of  these   goods, 
enables  me  to  assure  satisfaction  to  every  purchaser. 

>{>=C  EVERYTHING   SUPPLIED.-: <f 

LECTURE  BOOKS  ON 


Send  for  New  Catalogue.     (15  Cents  in  Stamps.) 

A  superb  list  of  Slides  from  recent  personally  made 

Negatives  of  EGYPT,  ARABIA,  ARABIA  PETRJEA, 
SYRIA,  AND  PALESTINE. 

jm~  CATALOGUES  READY.     THE  MOST  UNIQUE  COLLECTION  EVER  OFFERED. 


READ  WILSONS  LANTERN  JOURNEYS. 

THREE  VOLS.     VOL.  Ill,  "THE  ORIENT,"  JUST  ISSUED. 

By  mail,  $2.00  each,  Post-paid. 

EDWARD  L.   WILSON,  No.  1125  Chestnut  Street,  JPIiiladelphia. 


296 


THE    PHILADELPHIA    PHOTOGKAPHEP. 


JOHN   G.  HOOD. 


ESTABLISHED    1865. 


WM.  D.  H.  WILSON. 


sON,    HOOD   & 

^Xj  V  V>  825  Arch  Street,  V>  Q 

PHILADELPHIA, 

SOLE  AGENTS  IN  THE  UNITED  STATES  FOR  THE 


Centennial,  1876. 


Centennial,  1876. 


Ross'  Portrait  and  View  Lenses. 


WE  HAVE 

NOW 
IN  STOCK 


Portrait  Lenses,  from  1-4  to  8  x  10. 
Cabinet  Lenses,  Jfos.  3  and  3. 
Card  Lenses,  Nos.  1,  3,  and  3. 
Triplets,  Nos.  1,  3,  3.  4,  5,  6,  and  7. 
(_   Symmetrical^.     Rapid  Sy mmetricals. 


Instantaneous  Doublets,  all  sizes. 
Medium  Angle  Doublets,  all  sizes. 
Large  Angle  Doublets,  all  sizes. 
Stereograpnic  Lenses,  all  sizes. 
New  Universal  Lens. 


Numerous  testimonials  pronounce  them  to  be  the  best  as  well  as  the  cheapest  Foreign  Lenses  ever 
offered  to  the  American  Photographer.    We  will  mail  price  list  on  application,  and  promptly  fill  all  orders. 


Steinheil's  Sons' 


APLANATIC 


Lenses. 


JVo.  1—  1-4  size, 3%  inch  focus, $35  00 

»    3—  1-3      »       5^        »  »        30  00 

»    3—  4-4      »       T  »  »        45  00 


We  now  have  a  full  stock  of  these  Celebrated  Lenses,  at  the  following  prices  : 

No.  4—  8x10  size,...  10#  inch  focus,. ..$60  00 

..    5—10x13      »       ...13j£       »  »     70  00 

»    6—13x16      »      ...16#       »  »     ....110  00 

Nos.  1  and  3  are  in  matched  pairs  for  stereoscopic  work. 

We  feel  sure  that  at  least  one  of  these  lenses  is  needful  for  the  successful  prosecution  of  your  busi- 
ness, and  so  solicit  your  orders.  Always  in  stock,  to  suit  above  Lenses,  CAMERA  BOXES  made  by 
AMERICAN  OPTICAL  CO.,  SEMMENDINGER,  ANTHONY,  BLAIR,  etc. 

WE  KEEP  IN  STOCK  PULL  ASSORTMENT  OF 

AMATEUR  PHOTO.  OUTFITS 

DRY    PLATES    OF   ALL    MAKES. 

N.  P.  A.  EAGLE  and  S.  &  M.  PAPER,  PER  REAM,  $32.00. 

Any  article  needed  we  can  supply,  as 
WE  MANUFACTURE,  IMPORT,  AND  DEAL  IN  ALL  KINDS  OF 

Photo.  Goods,  Frames,  Stereoscopes  and  Views, 

At  prices  as  low  as  are  consistent  with  the  quality  of  goods  furnished.  We  are  indebted  to  our 
customers  for  the  patronage  during  the  past  Nineteen  Years,  and  our  efforts  shall  be  to  merit  a  con- 
tinuance of  it. 

Illustrated  Price  Lists  supplied  free.    Correspondence  solicited. 


OF  AGE! 


Twenty-one   years   of  service   as   a    Photographic    Magazine 

having    been    fully    completed,    by    The    Philadelphia 

Photographer,  it  can  now  fully  claim  to  he 

"OF  AGE." 

It  was  born  when  our  art  was  itself  only  a  stripling,  and  having  grown  up  with  it  and  lived  for 
it,  now  comes  with  confidence  to  the  craft  for  support  during  its  Twenty-second  year. 

Under  the  same  editorial  care  which  gave  it  birth  and  name,  it  will  continue  its  good  work  in 
the  interests  of  the  art  of  Photography,  with  brighter  prospects  of  usefulness  and  success  than  ever 
before.  In  looking  back  upon  its  past  record,  the  editor  and  publisher  thinks  he  has  won  the 
right  to  claim 

TWELVE  REASONS  WHY  "THE  PHILADELPHIA  PHOTOGRAPHER "  SHOULD  HAVE  THE 
PATRONAGE  OF  ALL  LOVERS  OF  OUR  ART,  AS  FOLLOWS : 

1.  The  photographic  studies  issued  with  each  number  are  a  great  help  to  workers  under  the 
skylight,  and  well  worth  the  price  asked  for  the  whole  magazine.  Over  forty  of  these  studies 
were  supplied  last  year,  and  some  fine  gems  are  preparing  for  1885. 

2.  The  editor  having  been  connected  with  the  art  for  over  one-half  of  its  existence,  is  wholly  in 
sympathy  with  the  working  craft,  and  well-knows  their  wants  to  supply  them. 

3.  Its  ability  to  anticipate  the  wants  of  the  craft  is  secured  by  its  connection  with  the  practical 
men  of  our  art  all  over  the  world;  and  the  same  long  connection  creates  a  ready  means  of 
obtaining  promptly  all  that  is  needed. 

4.  Its  enterprise  in  taking  up  and  making  popular  and  easy  all  good  processes  and  measures  is 
proverbial. 

5.  Its  war  upon  low  prices,  and  its  endeavors  to  lift  up  the  fraternity  to  better  ones,  as  well  as 
its  usefulness  in  winning  the  press  and  the  public  to  a  better  appreciation  of  our  art,  are  well  known 
to  all. 

6.  It  has  always  been  quick  in  discovering  and  exposing  frauds,  humbugs,  and  attempts  to  injure 
its  patrons.     It  is  operated  for  the  good  of  its  patrons. 

7.  Its  long  standing  as  an  authority  in  our  art,  has  won  it  connection  with  scientists  and  scientific 
bodies  all  over  the  world,  who  send  their  new  things  to  its  editor  first,  over  all  of  its  class. 

8.  Its  circulation  is  International.  There  is  not  a  land  where  English  is  read  that  it  does  not  go 
to.     It  also  circulates  in  every  State  in  the  Union,  about  as  follows : 

New  England,         .        .    31.5  per  cent.  Western  States,       .  24.4  per  cent. 

Middle  States,  .        .    34.1         "  Canada,      ....       8.3  " 

Southern  States,     .        .    16.4  "  Foreign,    ....       5.3  " 

Thus  giving  the  best  means  of  advertising,  and  thus  securing  the  best  circulation  among  the 
active  votaries  of  the  art. 

9.  Its  form  has  bee*  adopted  by  all  the  other  American  magazines  of  our  art  (all  its  junior), 
but  its  quality  and  artistic  appearance  have  not  been  reached  by  any. 

10.  Its  standing  as  the  leading  magazine  of  its  kind,  has  been  maintained  ever  since  it  began. 
"  It  is  the  best  of  its  class*"  say  press  and  patrons. 

11.  Its  success  has  been  a  success,  though  its  price  is  higher  than  that  of  any  of  its  con- 
temporaries. The  best  artists  often  write,  "  I  don't  care  how  many  other  journals  there  are,  or 
how  low-priced,  I  must  have  The  Phii  adelphia  Photographer." 

12.  It  is  the  cheapest  of  all,  because  '•  the  best  is  always  the  cheapest."  You  cannot,  therefore, 
afford  to  do  without  it. 

SUBSCRIBE  NOW.     $5.00  a  year;  $2.50  for  six  month;  50  cts.  a  copy. 

It  has  been  our  custom  for  many  years,  to  give  old  subscribers  a  premium  for  new  subscriptions 
sent  in  addition  to  their  own.  We  continue  this  plan  by  offering  one  dollar's  worth  of  our 
publications  for  each  such  additional  subscriber  for  a  year.  Please  do  all  you  can  to  increase  our 
usefulness  in  behalf  of  the  glorious  art  of  photography.     It  is  to  your  interest  to  do  so. 

For  1885  we  have  some  useful  schemes  and  novelties  under  way,  which  will  be  presented 
from  time  to  time. 

Contributions  from  both  Actives  and  Amateurs  are  invited.  Proceedings  of  Societies  are  very 
useful  and  should  be  sent  promptly. 

EDWARD  L.  WILSON,  Editor,  Publisher,  and  Proprietor,  1125  Chestnut  St.,  Phila. 


NOTICE   TO    SUBSCRIBERS. 


In  remitting  by  mail,  a  post-office  or- 
der, or  draft,  payable  to  the  order  ot 
Edward  L.  Wilson,  is  preferable  to 
bank-notes.  Postage  stamps  of  the 
denomination  of  two  and  five  cents 
each  will  be  taken.  Clearly  give  your 
Post-Office,  County,  and  State. 

Foreign  subscriptions  must  be  ac- 
companied by  the  postage  in  addi- 
tion. 


ADVERTISING  sheets  are  bound 
with  each  number  of  the  Magazine. 
Advertisements  are  inserted  at  the  fol- 
lowing rates : 

One  Six         One 

Month.  Months.   Year. 

One  Page #20.00  #110.00  #200.00 

Half    "    12.00       66.00     120.00 

Quarter  Page...  7.00  38.50  70.00 
Eighth  "  ...  4.00  22.00  40.00 
Cards,    6  lines 

orless 2.00       11.00       20.00 


The  attention  of  advertisers,  and 
those  having  galleries,  etc.,  for  sale 
is  called  to  our  Specialties  pages 
Terms,  $2  for  six  lines,  and  25  cents  foi 
each  additional  line,  seven  words  to  a 
line,  always  in  advance.  Duplicate 
insertions,  50  cents  less,  each. 

We  have  addedan  Exchange  Column 
to  our  Magazine,  wherein  photogra- 
phers having  articles  for  exchange  can 
insert  advertisements  at  the  low  price 
of  15  cents  per  line,  or  fraction  of  a 
line,  of  seven  words  to  a  line. 

Operators  desiring  situations  no 
charge. 


THE  "CHAMPION"  CAMERA. 


REVERSIBLE  BACK 


Camera  with  11  x  14  Extension  Attached. 


Tn  constructiug  this  Camera  we  have  endeavored  to  concentrate  all  the  desirable  points  which 
experience,  skill,  and  care  can  produce  With  all  due  modesty  we  believe  we  can  say  it  has  no 
equal  in  the  world.  Fitted  with.  English  Holders  unless  otherwise  specified  Made  only  in  the 
following  sizes,  except  to  order: 

Single  Swing.  Double  Swing. 

$42  00    $47  00 

45  00    50  00 


5x8,     J. 


8x10, 

IMPROVED  EXTENSION. 

Size.  Single  Swing.  Double  Swing. 

11  x  14,  to  go  on  6%  x  &y2  Camera,  $20  00     $23  00 

11x14,         »  8x10         »         20  00    23  00 

14x17,         »  8x10        »         25  00    30  00 

Price  of  either  Camera  or  Extension  includes  I    Double  Plate-Holder  and  Carrying  Case 

with  each. 

The  BLAIR  TOUROGRAPH  AND  DRY-PLATE  CO.,  Boston,  Mass. 

WAREROOMS,  NEW  YORK  AND  CINCINNATI,  OHIO. 


22d  YEAE. 


,  1885.        ( 


Number  261. 


50  Cents. 


THE 


PHILADELPHIA 


ipiwt00rajj]m\ 


AN  ILLUSTRATED  MONTHLY  JOURNAL, 


DEVOTED  TO  PHOTOGRAPHY. 


EDITED  BY  EDWARD  L.  WILSON. 


PHILADELPHIA:   EDWARD  L.  WILSON 

PUBLISHER  AND   PROPRIETOR, 

No.  1 1 25  Chestnut  Street. 

«>K<x. — 

SUBSCRIPTIONS  RECEIVED  BY  ALL  NEWS  AND  STOCKDEALERS. 
Five  Dollars  per  Annum,  in  Advance. 


Entered  at  the  Post-Office  at  Philadelphia  as  second-class  matter. 


^GRAPHICS,  Fourth  Thousand,  $4.00.  V/SBK? 


SUMMARY    OP    CONTENTS. 


Book  Bargains, 277 

The  Buffalo  Convention, 277 

Dotted  Down  During  Debate, 278 

A  New  and  Useful  Attachment  for  the  Photo- 
graph Burnisher.     By  Chas.  Dorsey,  .     .  279 
Photography  at  the  New  Orleans  Exhibition,  .  280 
The  Buffalo  Exhibition.     By  Edw.  L.  Wilson,  286 


An  Interesting  Visit  to  the  Establishment  of 
the  Eastman  Dry  Plate  and  Film  Co.,     .  297 

Our  Picture, 301 

German  Correspondence, 302 

The  Isochromatic  Process, 304 

Society  Gossip 305 

Gleanings, 307 

Editor's  Table, 308 


Embellishment. — "A  Stanley  Dry  Plate  Gem."     By  C.  P.  Conley,  Boston. 


ADVERTISEMENTS. 


ALLEN  BROTHERS.     The  Suter  Lens. 
ANTHONY  &  CO.,  E.  &  H.  T.     The*New  N.  P.  A. 

PensS  Extra  Brilliant  Dresden  Albumen  Paper. 
BIGELOW'S  ARTISTIC  PHOTOGRAPHY. 
CARBUTT,  J.     Gelatine  Dry  Plates  and  Improved 

Dry  Plate  Lantern. 
COLLINS,  SON  &  CO.,  A.  M.     Photograph  Cards. 
COOPER,  CHAS.  &  CO.     Union  Negative  Cotton. 
CRAMER,  G.      Lightning  Plates. 
DEALERS'  DIRECTORY. 
DOUGLASS,  THOMPSON  &  CO.     Supplies  for  the 

Art-Science  of  Photography. 
EASTMAN  DRY-PLATE  AND  FILM  CO. 
ENTREKIN.     Patent  Eureka  Burnisher.     Duplex 

Rotary  Burnisher.     Duplicating  Print-Cutter. 
FRENCH  &  CO.,  BENJ.     Voigtlander  &  Son  and 

Darlot  Lenses.     The  Wonderful  Euryscope. 
GENNERT,  G.     Albumen  Paper.     C.  Bohmke  & 

Co.'s  Improved  Aplanats. 
HANCE'S  SPECIALTIES. 
HODGE  &  HUSTON.     The  Solar  Printers. 
HYATT,  H.  A.     New  Brand  of  Dry  Plates. 
INGLIS,  JAMES.     "Insoluble"  Dry  Plates. 
KEEVIL'S   PATENT    NEWTONIAN    DUPLEX 

LANTERN. 


MAGEE  &  CO.,  JAS.  F.    Photographic  Chemicals 

MOORE,  ALBERT.     Solar  Enlarger. 

MOSAICS,  1385. 

OPTICAL  LANTERNS  AND  SLIDES. 

PASSAVANT'S  DRY  PLATES. 

PHOTOGRAPHIC  COLORISTS'  GUIDE. 

PHOTOGRAPHIC  PROGRESS  SINCE  1878. 

PHOTOGRAPHIC  PUBLICATIONS. 

PHOTOGRAPHISCHE  MITTHEILUNGEN. 

PICTORIAL  EFFECT  IN  PHOTOGRAPHY. 

ROBINSON'S  NEW  MODEL  PHOTO.  TRIMMER 

SCOFIELD'S  UNIQUE  CAMERA. 

SCOVILL  MANUFACTURING  CO.  New  Dres- 
den Albumen  Three  Crown  Paper.  Negative 
Washing  Boxes.     Gihon's  Cut-Outs. 

THE  BLAIR  TOUROGRAPH  AND  DRY  PLATE 
CO. 

THE  HELIOTYPE  PRINTING  CO. 

WAYMOUTH'S  VIGNETTE  PAPERS. 

WILSON,  HOOD  &  CO.  Ross  and  Steinhei 
Lenses,  Photo.  Frames,  Goods,  Stereoscopes 
and  Views. 

WILSON'S  PHOTOGRAPHICS. 

WILSON'S  LANTERN  JOURNEYS. 

WILSON'S  VIEWS  OF  THE  ORIENT. 


119  South  Fourth  St. 

PHELADELPHIA. 

Branch  Office, 
60S  Seventh  Street, 

WASHINGTON,  D.  C. 


H.  HOWSOIff, 

Engineer  and  Solicitor  of  Patents. 

C.  HOWSON, 

Attorney  at  Law,  and  Counsel  in 
Patent  Oases. 


THE    PHILADELPHIA    PHOTOGEAPHEE.  261 

"S3XVJ.S  aaxiNn  shi  aod  sxnhov  mos 
'HOIW  cXIOHJ,aa  'V^S  Poiubt:  -g-  gx  ^  ^x 

'shhhiohs  nhtiv 


'sjnoA*  A[mi  ajsa  uib  j  *-t3ing  -jjy\[  jo 

assqi  UBq}  punoj  3q  ueo  susj  punojB-qB  J3i}3q  b  'Asuoui  sqi  joj  'jBqj  asoddns  l.uop  j 

•sugg  tt  g ,,  J9}rig  qjiAv  uiooj  Ajbujpjo  ub  ui  p9onpo.id  sjsay  pip 
J9A9  j  s}p3JiJod  ;saq  9q}  inq  '9jrnp3.11.10d  }B  ^joav  o}  sssjojd  }ou  op  j      jjjoay  sdBOspurq 

AIEUipjO  JOJ  5\?Z/<?  (|  #",,  9S9tf}   JVJq  UV3  S9SUP]  £uv  ^Uiqi  l.UOp   J       -p3Sn  J3A3  9ABq  J  S3SU3J 
OpEUBfdB    JO  'p33IJ}9UIUlKs    'jB3Uqip9J    9qj  JO  AuB    SB    pOoS    SB    9JB    S3SU3^   I(  g  ,,  9qj, 

•Jl  qjIAV  5{JOAV  Sn09UB}UB}SUI  pOoS  AJ3A  3U0p  3ABJ-[       -p3UiqUI03  UOppJUSp  pUB 

AjxpidBJ  sji  jo  junoDDB  uo  ^[joav  dnojS  joj  psjdBpB  Apusupus  si  s3U9g  (iy,,  s(j3;ng 

'ifJOAV  Sn09UB;UBlSUl  pUB  9dBDSpUBJ  UI  3UI  k<\  p3Stl  XpUBlSUOD  pUB  U0ISS3SS0d  k\i\ 

ui  avou  sssusq;  J9}ng  sqj  jo  uoiuido  pipuBO  Xui  noX  saiS  01  pBjS  uie  j  :  SHig  >ivaQ 

•}ioj}3q  '-song  Naaay  -sassaj\[ 


•}U3upuc>3  ueouauiy  aqi  joj  s:ti92y  3l°S 

's^aHxcma  nttcv 

's-inoA"  X^'BUJaj'Bjj;  -s.t3p.10  uo 

puiqsq  sjb  say  sazis  atuos  uo  puB  'd2m\  si  puBiusp  aq;  sb  'Suuapio  ui  ABjap 
}(uop  'juoav  anoX  jo  Ajipanb  puB  azis  sq}  3A0.idun  01  qsiM  noA"  jj  -su3j  A.I3A3 
ssjubibuS  9y\\  una^BuiB  qsijSug  juauiuia  aqj  '*bsg  'aiSuuj  Avajpuy  'A^uoqitiB 
qSiq  iBqi  uiojj  ia}}a[  b  qiuoui  siq}  qsi[qnd  a^  'sjpsaj  SuiqsjuoiSB  }soui  aq; 
ppiX  'sajBjd  Xip  uaapoui  aqi  jo  asn  aqj  qjiM  puB  'uouiuuap  ia^aq  aABq  'sauag 
((y,5  aqi  sb  3[omb  sb  sjmb  }ou  a^iqM  'sauag  (<  a  „  sqx     'NOI.LVmiALa.TII  SNM 

pub  'arcai^  d:o  ssaNivrra  'snooa  ^0  Hidaa  joj   paipjAuun  pubis 

Xaqi  'aaud  avo^  b  }b  pps  qSnoq^y  -sua{  ajqB}UBUia.i  sxqj  jo  ssaaans  |Buauiou 
-aqd  aqj  joj  ^uuoddb  \\im.  siqj,     "paaaons  oj  ajns  si  luatu  [Baj  jo  apiuB  uy 


■mi  mas  flu  jo  mm*  mm 


ENTREKIN'S  PATENT  EUREKA  BURNISHER, 


The  above  cut  represents  our  25  inch  Eureka. 


The  unprecedented  popularity  of  thi< 
Burnisher  is  wonderful.  Over  seventeen 
thousand  (17.000)  sold  in  less  than  five 
years.  Agencies  in  London,  Berlin,  and 
Vienna,  and  sold  by  all  stockdealers  in  the 
United  States.  The  machines  are  built  in 
first-class  style,  and  warranted  to  do  the 
work  claimed. 

Full  directions  accompany  each  machine. 


PRICES 


6  inch  Roll, 
10 

14  " 


615  00 
25  00 
35  OO 


20  inch  Roll, 
25  " 


$60  00 
70  00 


ENTREKIN'S 
Duplex  Rotary  Burnisher. 

PATENTED  JUNE  1,  1875. 

PRICES: 

10  inch, $15  00; 

15      " 25  00, 

20      " 35  00 

25      " 45  00 


ENTREKIN'S  DUPLICATING  PRINT  CUTTER 


Cabinet  and  Stereo.  Sizes,  $25.00  Small  Panel  Size,  $35.00. 

Size  6^x8^,  $40  OO. 
MANUFACTURED  AND  FOR  SALE  BY 

W.  G.  ENTREKIN,  4384  Main  St.,  Manayunk,  Philada.,  Pa. 


THE    PHILADELPHIA    PHOTOGEAPHEK.  263 

ENTREKIN'S 

IMPROVED 

DUPLEX  ROTARY  BURNISHER. 

PATENTED. 


1  ,!/^'/i'A-jrvc, 


10  in.,  $25.00.     15  in.,  $35.00.     20  in.,  $45.00.     25  in.,  $00.00. 

This  Machine  is  an  improvement  on  our  old  Duplex  Rotary 
Burnisher,  invented  by  us  in  1874. 

It  is  so  constructed  that  by  changing  the  Large  Gear  or  Cog-wheel,  from  the  stud  to  the  end 
of  the  draw-file  or  upper  roll,  you  reverse  and  change  the  speed  of  the  lower  or  polishing  roll, 
thus  getting  the  same  result  as  in  the  old  Duplex  Rotary;  but  to  secure  the  best  polishing  surface, 
use  the  machine  with  the  large  cog-wheel  on  the  Stud,  by  so  doing  you  secure  three  times  the 
polishing  surface.  All  the  machines  will  be  sent  out  with  gearing  so  arranged  as  to  give  this 
result.  It  is  optional  with  the  Photographer  how  he  may  use  the  machine.  The  Fire-Fan  is 
so  arranged  that  it  is  impossible  for  it  to  come  in  contact  with  the  surface  of  the  polished  roll,  and 
it  can  be  turned  away  to  cleanse  the  roll. 

EVERY  MACHINE  WARRANTED  PERFECT. 


FOR  SALE  BY 


W.  G.  ENTREKIN,  Inventor  and  Sole  Manufacturer, 

4384  Main  St.,  Manayunk,  Philadelphia,  Pa. 
AND  BY  ALL  PHOTOGRAPHIC  STOCKDEALERS. 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


Send  to  the  Eastman  Dry  Plate  and  Film  Company 
for  full  particulars  of  their  New 

PAPER  NEGATIVE  PROCESS. 


NEGATIVE  PAPER,  Cut  Sheets. 

NEGATIVE  PAPER  on  Spools  for  Roll  Holders. 

ROLL  HOLDERS,  for  Exposing  Negative  Paper 
in  the  Continuous  Web. 

CARRIERS,  for  Exposing  Negative  Paper. 

CUT  SHEETS  in  Regular  Sizes. 

IF1  or    Sale    toy    all    Dealers. 


TRY  THE  COMING  PROCESS. 


THE  EASTMAN  DRY  PLATE  AND  FILM  CO. 

ROCHESTER,  N.  Y. 


THE    PHILADELPHIA    PHOTOGEAPHEE.  265 

THE 

Eastman  Dry  Plate  and  Film  Co. 

NEGATIVE  PAPER  OUTFITS, 

FOR 

MAKING  PAPER  NEGATIVES  IN  ORDINARY  HOLDERS. 


CONTENTS: 


2  Doz.  Negative  Paper. 
1  8-oz.  bottle  Developer. 


1  8-oz.  bottle  Castor  Oil. 
1  6-in.  Vel.  Rubber  Squeegee. 


2  Carriers,  complete. 


5x8  Outfit,  complete,  with  Carriers    1-8.   inch 

thick  for  Dry -plate  Holders,  put  up 

in  neat  box. 

PRICE,  $3.50. 

5x7   Outfit,  complete,  with  Carriers  3-16  inch 

thick  for  Wet-plate  Holders,  put  up 

in  neat  box. 

PRICE,  $3.00. 


FOR  SALE  BY  ALL  DEALERS. 


266  THE   PHILADELPHIA   PHOTOGRAPHER. 


The  Following  is  of  Interest  to  Every  Photographer. 


THE  NEW  N.  P.  A. 


PENSE. 


We  desire  to  call  attention  to  our  NEW  PENSE  N.  P.  A.  Extra  Brilliant 
Dresden  Albumen  Paper. 

The  manufacturers  at  Rives  have  recently  many  marked  improvement  in  their 
celebrated  paper,  and  all  the  sheets  of  this  brand  are  manufactured  specially  for 
it,  and  are  readily  distinguished  from  all  other  papers  by  the  water-mark  N.  P.  A. 

It  is  doubly  albumenized  by  the  most  experienced  house  in  Germany,  with 
new  and  improved  formulas,  and  we  are  confident  that  on  trial  it  will  be  found 
superior  to  any  other  in  market. 

Its  excellence  has  induced  some  unscrupulous  persons  to  place  the 
STAMP  on  the  Paper  of  other  makers,  in  order  to  work  it  off,  trusting  that 
photographers  will  not  look  through  to  see  if  the  water-mark  is  there.  To 
prevent  this  we  have  registered  JS@"Tliis  Trade  Mark"^8  in  Washington,  which  will 
subject  to  heavy  damages  all  ^,<^^~  ^■^/</  those  who  stamp  this  brand 
on  paper  which  does  not  bear  "^  N.P.A.  ^  the  water-mark  N.  P.  A. 
This  Paper  can  be  had  also  in         DRESDEN.         PINK,  PEARL  or  WHITE. 

FOR  SALE  BY  ALL  DEALERS  IN  PHOTO.  GOODS  IN  U.  S.  AND  CANADA. 


E.  &  H.  T.  ANTHONY  &  CO., 

591  Broadway,  NEW  YORK 

N.  B. — When  any  paper  is  offered  to  you  at  a  low  price,  Measure  it. 

Also  note  whether  it  runs  Uniform,  for  some  albumenizers  mix  the  first  and 
second  qualities,  not  discarding  that  which  has  defects,  and  thus  get  their  paper 
cheaper. 


THE    PHILADELPHIA    PHOTOGRAPHER. 


267 


IN  THE  PRICE  OF  THE  POPULAR 

Stanley  Dry  Plates. 


FOLLOWING  IS  THE  REDUCED  FRXCE  LIST: 


4x5, 

4X  x5^, 

4X  x  Q%, 

5x7, 

5  x  8, 

6/2  x8}4, 

8  x  10, 


per  dozen, 


$0  45 

65 

75 

90 

1   10 

1   25 

1  65 

2  40 


10  x  12,  per  dozen, 

11  x  14,  » 
14x17,  » 
16  x  20,  » 
17x20,  » 
18  x  22,  » 
20  x  24,  » 


$3  80 
5  00 
9  OO 

12  50 

13  00 
15  50 
18  50 


These  Plates  have  met  with  remarkable  favor  among  both  amateur  and 
professional  photographers,  and  the  demand  is  much  greater  than  could  have 
been  expected  within  the  short  time  that  has  elapsed  since  their  introduction. 
Their  rapid  rise  to  popularity  is  a  sufficient  evidence  of  their  superior  qualities, 
for  with  so  many  plates  in  the  market,  nothing  but  intrinsic  excellence 
could  have  brought  them  so  suddenly  into  their  conceded  position  of  the 
best  plates  made.     FOR  SALE  BY  ALL  DEALERS. 


IMPORTANT 


DISCOVERY, 


Tropical  Dry  Plates. 

The  only  Dry  Plates  made  that  will  not  frill  in  water  of  any  temperature, 
and  can  be  dried  by  artificial  heat.  By  their  use  the  negative  can  be  developed, 
fixed,  and  dried  in  a  few  minutes,  enabling  proofs  to  be  taken  from  them  at  once. 
They  are  Rapid  and  Uniform,  unsurpassed  for  softness  and  delicacy,  and  can  be 
used  in  the  hottest  climates. 


3X  x4X, 

4x5, 
4#  x  5%, 

4X  x6^, 
5  x  7, 
5  x  8, 

Q/2  x8^, 
8  x  10, 


per  dozen, 


PRICES  AS  FOLLOWS: 

lOx  12, 


$0  50 
75 
85 
05 
30 
45 
90 
80 


11  x  14, 
14  x  17, 

16  x  20, 

17  x  2o, 

18  x  22, 
20  x  24, 


per  dozen, $4  00 

.)           5  85 

»            10  50 

»           14  50 

»            15  25 

18  OO 

21   50 


E.  &  H.  T.  ANTHONY  &  OO. 

Sole  Agents.  NEW  YORK. 


CAN  BE  HAD  OF  ANY  DEALER  IN  PHOTO.  MATERIALS. 


268 


THE    PHILADELPHIA    PHOTOGRAPHEK. 


THE  BEST  AND  THE  CHEAPEST. 


GREAT  REDUCTION  IN 


PRICES   OF  DRY  PLATES. 

FROM  AND  AFTER  MAY  10,   1885,  THE  PRICES  OF 

Eastman's   Special  Dry  Plates 

WILL  BE  AS  FOLLOWS  : 


iV*  x 

4% 

$o     45 

10x12 

$3  80 

4      x 

5 

65 

11x14 

5  00 

4/4  x 

5^ 

75 

14X  17 

9  00 

4/4  x 

6}4 

90 

16  x  20 

12   50 

5      x 

7 

1    10 

17  x  20 

13  00 

5      x 

8 

1    25 

l8  X  22 

^5   50 

6^  x 

sy2 

1   65 

20  x  24 

18   50 

8       x 

IO 

2  40 

Eastman  Special  Dry  Plates  give  the  best  chemical  effects,  and  photographers 
are  invited  to  compare  them  with  any  other  plate  in  the  market  for  Brilliancy, 
Roundness,  and  Quick  Printing. 

Owing  to  improvements  made  from  time  to  time,  and  the  extreme  care  exer- 
cised in  every  detail  of  their  manufacture,  these  plates  are  quick,  clean,  and 
uniform. 

Only  the  best  English  glass  is  used.  No  cheap  French  glass,  such  as  is  em- 
ployed in  inferior  plates.     Try  them  and  you  will  use  them. 


FOR  SALE  BY  ALL  DEALERS. 


MANUFACTURED   ONLY  BY 


THE  EASTMAN  DRY  PLATE  AND  FILM  CO., 

ROCHESTER,  N.  Y. 


THE    PHILADELPHIA    PHOTOGRAPHER  269 

Benj.  French  &  Co. 

No.  319  WASHINGTON  STREET,  BOSTON, 

Sole  Agents  in  the  United  States  for  the  Celebrated  Lenses 
Manufactured  by 

VOIGTLANDER   &  SON. 


ALSO,  THEIR  FAMOUS 


Which  is  unrivalled   for  groups,  full-length   figures,  and  other  demands  in  the 
gallery,  and  every  species  of  out-door  work,  including  instantaneous  photography. 

e^-  THE  EURYSCOPE  is  made  exclusively  by  Voigtlander  &  Son,  and  their 
name  is  engraved  on  the  tube. 


PORTRAITS.    HARLOT     LENSES    VIEWS. 


IMPORTERS,  ALSO,  OF  THE  CELEBRATED 

TRAPP  &  MUNCH 

ALBUMEN    PAPER, 

AND  DEALERS  IN  ALL  KINDS  OF 

Photographic  Materials  and  Magic  Lantern  Slides. 

SEND  FOR  OUR  NEW  ILLUSTRATED  PRICE  LIST  OF  LENSES 


270 


THE    PHILADELPHIA    PHOTOGKAPHER 


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THE     PHILADELPHIA    PHOTOGRAPHER.  271 


The  amateur  and  his  old  friend,  the  daily  worker,  are  well  taken  care  of  in  the 
literature  line,  and  we  ask  their  attention  to  the  following  list,  which  includes 
about  everything  there  is  need  for.  There  is,  in  fact,  a  treatise  on  every  branch 
of  photography. 

The  Philadelphia  Photographer.  A  monthly  magazine,  illustrated  by  photographs  of 
superior  merit.  $5  a  year;  $2.50  for  six  months. — Stands  ahead  of  all  its  kindred.  Twenty-one 
years  of  success  is  a  sufficient  guarantee  of  its  value  and  use  to  the  practical,  working,  growing 
photographer.     Do  not  go  without  its  valuable  help. 

The  Perrotyper's  Guide.  Price,  75  cents. — Cheap  and  complete.  For  the  ferrotyper 
this  is  the  only  standard  work.     Seventh  thousand. 

Pictorial  Effect  in  Photography.  By  H.  P.  Robinson.  Cloth,  $1.50;  paper  cover, 
$1. — For  the  art  photographer. 

Wilson's  Photographies.  The  newest  and  most  complete  photographic  lesson-book. 
Covers  every  department.     352  pages.     Finely  illustrated.     Only  $4.     By  Edward  L.  Wilson. 

"Wilson's  Lantern  Journeys.  By  Edward  L.  Wilson.  In  three  volumes.  Price,  $2  per 
volume. — For  the  lantern  exhibitor.  Gives  incidents  and  facts  in  entertaining  style  of  about  2,000 
places  and  things,  including  200  of  the  Centennial  Exhibition, 

Studies  in  Artistic  Printing.  By  C.  W.  Hearn.  Price,  $3.50. — Embellished  with  six 
fine  cabinet  and  promenade  portrait  studies. 

The  Photographic  Oolorists'  Guide.  By  John  L.  Gihon.  Cloth,  $1.50. — The  newest 
and  best  work  on  painting  photographs. 

Photographic- Mosaics,  1885.  A  year-book.  Cloth  bound,  $1 ;  paper  cover  50  cents. 
Better  than  any  of  its  predecessors. — Back  volumes,  same  price. 

The  Photographic  Amateur.  By  J.  Traill  Taylor.  A  guide  to  the  young  photogra- 
pher, either  professional  or  amateur.     Price,  50  cents. 

The  Art  and  Practice  of  Silver-Printing.  By  H.  P.  Robinson  and  Capt.  Abney, 
R.E.,  F.R.S.     Price,  50  cents.     Illuminated  cover.     Cloth  bound,  75  cents. 

Photography  with  Emulsion.  By  Capt.  W.  De  W  Abney,  R.E.,  F.R.S.  Price,  $1 
per  copy. 

Twelve  Elementary  Lessons  in  Dry-plate  Photography.  Price,  25  cents  per 
copy. 

The  Modern  Practice  of  Retouching.     Price,  50  cents  per  copy. 

The  Progress  of  Photography.  By  Dr.  H.  W.  Vogel.  A  splendid  helper  to  all  workers. 
Price,  $3. 

Picture  Making.     By  H.  P.  Robinson.     Cloth,  $1.     Paper,  50  cents. 

All  orders  for  above  will  be  filled,  free  by  post,  on  receipt  of  price  at  the 
office  of  this  magazine. 

EDWARD  L.  WILSON,  Photo.  Publisher,  1125  Chestnut  St.,  Phila. 


272  THE    PHILADELPHIA    PHOTOGRAPHER. 

JAMES   INGLIS, 

MANUFACTURER  OF  THE 

Inglis  Dry  Plates, 

ROCHESTER,  N.  Y. 


INGLIS'  NEW  DRY  PLATE. 

E.  L.  Wilson  says  they  are  too  quick  for  him  in  New  Orleans, 
but  adds,  the  quality  is  all  right.     Send  us  slower  ones. 

Negatives  made  in  one  or  ten  seconds,  both  equally  good. 
We  saw  this  done,  and  so  exactly  alike  were  the  two  negatives 
they  could  not  be  told  apart.  Both  taken  on  one  plate  then  cut 
in  two.  Fred.  Robinson,  Trumansburg. 

Hale,  Seneca  Falls. 

For  Transparencies  they  are  not  excelled.     How  to  develop 
for   positives.     For  quick  or  slow  exposures.     For  hard  or  soft  ^ 
negatives,  find  in  our  directions,  which  will  enable  the  youngest 
amateur  to  work  successfully.     Will  send  them  by  mail  on  request. 


THERE  IS  NO  FEAR  OP  PRILLING. 


SCOYILL  MANUFACTURING  CO,  AGENTS. 

And  For  Sale  by  most  of  the  Dealers. 


u 


M 


>W.'.'| 


% 


$  eiii 


Wmf0>. 


Z&lM  /'r.l'.WV.il.i  h'g'ifi 


u 

S 
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Ground  Glass 

Substitute. 

Manufactured  only  by 

Alfred  L.  Hance, 

PHILADELPHIA. 


^•~  « 

£ 

■8^ 

s  £  s 

£2 

J  ^  -a 

&  ?  <-> 

i 

^ 

^    h    ^ 

3 

4118 

£     ^     8 

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1  .feo^s 

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Grou, 

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Goo 

8 

8 

^ 
^ 

^ 

§    fc    * 

^0 

^0 

Scovill  Manufacturing  Company,  Trade  Agents, 
FOR  SALE  BY  ALL  DEALERS. 


274 


THE   PHILADELPHIA    PHOTOGRAPHER. 


OVERFLOW 

Photographic  Books 

BARGAINS  FOR   PHOTOGRAPHERS. 

Owing  to  the  overflow  in  our  establishment,  we  are  enabled  to  offer  special 
bargains  to  operators,  assistants,  employers  and  amateurs. 

The  books  are  every  bit  as  good  as  new,  and  some  of  them,  especially 
Mosaics,  the  Year  Books,  and  Philadelphia  Photographer,  of  back 
years,  are  the  last  there  will  be. 

nxrote  ■Tliis  and  Order  C^ulIoIsl. 


1.  Pictorial  Effect  in  Photography, 

2.  Gihon's  Colorists'  Guide,    .    .    . 

3.  Vogel's  Progress  in  Photography 

4.  The  Photographic  Amateur, 

5.  The  Studios  of  Europe,  .... 
6-  Lantern  Journeys,  Vol.  1, .    .    . 

7.  Lantern  Journeys,  Vol.  2, .    .    . 

8.  British  Journal  Almanac,  1885, 


$0  50 
50 
1  00 
25 
50 
75 
75 
25 


9.  Year  Book  of  Photography,  1868, 
1869, 1870, 1871, 1877, 1882, 1885, 

10.  Photographic  Mosaics,  1865, 
1867, 1871, 1872, 1873, 1874, 1875, 
1876, 1877, 1878, 1881, 1882, 1883, 
1884,  1885, 

11.  The  Centennial  Diary, 

12.  Anderson's    Comic  Allmyknack, 


15 


15 
25 
25 


One  Parcel  Containing  1,  2,  3,  4,  5,      .       . $2  50 

One  Parcel  Containing  Ten  Copies  of  8  and  10, 1  25 

One  Parcel  Containing  1,  2,  3,  4,  5,  6,  1,  11,  12, 4  00 

Where  any  five  books  are  taken,  half  the  amount  will  be  added  in  copies  of  the 
Philadelphia  Photographer  as  discount,  and  sent  by  express. 

A  SPECIAL  P.  P.  BARGAIN. 


We  cannot  always  complete  volumes,  but  make  the  following  offer : 


Single  Copies  of  the  Philadelphia  Photographer, 
Twelve      "  "  "  " 

A  Full  Volume  "  " 


$0  15 
1  50 
1  50 


The  magnificent  studies  in  our  art,  and  the  splendid  articles  contained  in  our 
back  numbers,  ought  to  cause  a  quick  scramble  for  these,  especially  from  the 
amateurs  and  those  who  forgot  to  subscribe. 

No  such  offer  will  ever  he  made  again.     The  overflow  stock  is  not  large, 
and  you  should  order  early. 

EDWARD  L.  WILSON, 


Photo.  Publisher, 


1125  Chestnut  St.,  Phila. 


THE    PHILADELPHIA    PHOTOGKAPHEB. 


275 


New  Book  by  Dr.  H.W.Vogel, 

PROGRESS  (^PHOTOGRAPHY. 

THE  BEST  EFFORT  OF  THIS  VETERAN  TEACHER. 

Every  Photographer  and  Amateur  should  Read    it   Carefully. 

CHAPTER  I. 

PHYSICAL  EFFECTS  OF  LIGHT. 

CHAPTER  II. 

CHEMICAL  EFFECTS  OF  LIGHT. 

CHAPTER  III. 

PHOTOGRAPHIC  CHEMISTRY. 

CHAPTER  IV. 

PHOTOGRAPHIC  OPTICS. 

CHAPTER  V. 

PHOTOGRAPHIC  APPARATUS. 

CHAPTER  VI. 

THE  NEW  PHOTOGRAPHIC 
PROCESSES. 

CHAPTER  VII. 

PHOTOGRAPHIC  JESTHETICS  AND 
PORTRAIT  TECHNIQUE. 

CHAPTER  VIII. 

PHOTOGRAPHY  FOR  AMATEURS. 

As  the  Artist  should  Study  all  about  the  Face,  so  should  the 
Photographer  Study  all  about  his  Art. 

10  BETTER  OPPORTUNITY  TO  DO  THIS  IS  AFFORDED  THAN  THAT  FOUND 

IN 

Progress  of  Photography. 

3  4  "7     X»  .A.  C3- EJ  S. 

$3.00 PRICE $3.00 

With  Seventy-two  Illustrations,  and  an  admirable  portrait  taken  with 
Electric  Light,  by  W.  Kurtz,  New  York. 

EDWARD  L.  WILSON,  Publisher,  1125  Chestnut  St.,  Phila. 


276 


THE    PHILADELPHIA    PHOTOGRAPHEE. 


DEALERS'  DIRECTORY. 


The  following  houses  are  to  be  recommended  as 
the  best  for  photographers  in  their  localities. 


S.  T.  BLESSING, 

New  Orleans, 

La. 


THE 

BEST  BOOK 


IS 


SMITH  &  PATTISON, 

New  Location, 

145  &  147  Wabash  Avenue, 

Chicago. 


H.  A.  HYATT, 

Mound  City  Photo,  Stock  House, 

8th  and  Locust  Sts., 

St.  Louis,  Mo. 


WILSON'S 

PHOTOGRAPHICS, 

$4.00. 


D.  J.  RYAN, 

Savannah, 

Ga. 


SCOVILL  MANF'fi  CO, 

423  Broome  St., 
New  York. 


D.  TUCKER  &  CO., 


Buffalo, 


N.  Y. 


BLESSING  &  BBO., 

Galveston, 

Texas. 


O.H.OODMAN&OO. 

Boston,  Mass. 


WILSON,  HOOD  t  CO, 

825  Arch  Street, 
Philadelphia,  Pa. 


B.  FRENCH  &  CO. 

Boston,  Mass. 


BUCHANAN,  SMEDLEY 

&  BROMLEY, 

25  N.  Seventh  St., 

Philadelphia. 


EDWARD  L.  WILSON, 

Photo.   Publisher, 
LANTERN  SLIDES, 

1 1 25  Chestnut  St., 

Philadelphia. 


MDLLETT  BROS, 

Kansas  City, 
Mo. 


OSCAR  FOSS, 

San  Francisco, 
Cal. 


E.&H.T.ANTHONY&CO. 

591  Broadway, 

New  York. 


SHEEN  &  SIMPKINSON, 

Cincinnati, 

Ohio. 


C.    F.    CONLEY 


A  STANLEY  DRY-PLATE  GEM. 


THE 


EDITED    BY    EDWARD    L.    WILSON, 


Vol.  XXII. 


SEPTEMBER,    1885. 


No.  261. 


BOOK  BARGAINS. 

Attention  is  directed  to  our  advertise- 
ment of  "overflow"  stock  of  books  and 
magazines. 

About  a  dozen  years  ago,  tbe  bindery 
where  our  magazine  has  been  folded  and 
bound  for  twenty  years,  took  fire.  It  was 
over  our  office,  and,  as  a  consequence,  we 
got  a  terrible  wetting,  and  consequent  dam- 
age to  our  stock.  Much  of  it  was  saved  from 
more  than  a  sprinkling,  however,  and  many 
of  the  craft  were  quick  to  avail  themselves 
of  the  chance  we  gave  them  to  buy  in  a 
stock  of  reading  matter  for  the  coming  win- 
ter that  cost  them  very  little  money.  "We 
are  now  in  the  market  with  a  similar  offer. 

Here  is  an  opportunity  you  will  perhaps 
not  have  again : 

1.  To  secure  cheap  photo-literature. 

2.  To  make  up  sets  of  photographic  Mo- 
saics, the  Year  Book,  and  the  Philadel- 
phia Photographer  for  very  little  money. 

3.  To  get  a  collection  of  fine  studies,  un- 
equalled in  the  world,  at  a  very  low  price. 

"We  need  not  say  more,  except  that  the 
stock  is  limited,  and  the  early  order  secures 
the  prizes.  They  are  all  about  as  good  as 
new. 

Eead  the  advertisement  understanding^. 
The  parcels  are  sent  by  post  or  per  express, 
on  receipt  of  cash  with  order.  "Wherever 
we  can  we  will  supply  special  numbers  and 
dates,  on  request,  to  fill  sets. 


THE  BUFFALO  CONVENTION. 

Our  desire  to  supply  our  readers  with  a 
full  and  complete  report  of  the  Buffalo  meet- 
ing under  one  cover  of  our  magazine,  caused 
our  August  issue  to  swell  to  unusual,  in  fact, 
nearly  double,  proportions,  and  to  crowd  out 
some  of  our  "  standard  "  articles,  as  well  as 
some  of  the  reports  from  local  societies. 

The  former  are  in  place  this  month,  and 
the  latter  are  on  record  in  some  of  the  other 
magazines,  so  nothing  is  really  lost,  but 
much  gained. 

And  now,  why  need  we  comment,  to  any 
great  extent,  upon  the  Convention  at  Buf- 
falo ?  To  us,  personally,  it  was  one  of  the 
most  satisfactory  conventions  we  have  ever 
attended,  and,  we  think,  the  best  there  has 
been  since  the  former  Buffalo  one  of  the  N". 
P.  A.,  in  1873.  To  this  last-named  one  we 
often  look  back  for  help.  Its  influence  was 
excellent,  its  work  was  great,  and  the  good 
it  started  continues  to  go  on.  The  late 
Convention  was  like  it  in  the  good  feeling 
which  prevailed ;  in  the  apparent  determi- 
nation on  the  part  of  members  to  get  in- 
struction, and  in  the  willingness  on  the  part 
of  those  able  to  do  so  to  give  of  what  they 
knew. 

The  papers  that  were  read  were  of  an  un- 
usually practical  and  useful  order — some- 
thing to  send  out  among  those  who  could 
not  come  that  will  give  the  Association  a 
good  name  for  being  useful. 

The  debates  were  wonderful,  too,  because 


19 


278 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


of  their  fulness  of  practical  thought  and 
the  entire  absence  of  frivolity  and  nonsense. 
The  President  made  it  our  duty  to  sit  where 
we  could  face  the  audience,  and  we  derived 
a  great  deal  more  quiet  pleasure  and  com- 
fort from  our  position  on  the  platform  than 
we  locked,  we  are  sure. 

Harmony,  peace,  and  good  feeling  ruled, 
and  a  determination  to  learn  seemed  to  be 
depicted  upon  the  faces  of  the  attendants 
universally.  All  this  was  good,  and  we 
can  only  look  back  upon  it  with  pleasure. 

It  has  always  been  our  desire  as  to  these 
conventions,  first,  that  those  who  attended 
them  should  be  given  some  wholesome  food 
to  chew  upon  during  the  year.  They  got 
it  this  year. 

Another  desire  we  had,  not  always  ful- 
filled, was,  that  our  Association  should  be 
the  means  of  scattering  useful  knowledge  a 
great  deal  further  than  the  space  allotted 
for  the  meetings. 

"We  feel  that  this  has  been  started  well 
this  year  also,  and  we  are  encouraged  to 
believe  that  our  meetings  were  not  in  vain. 
The  ofiicership  this  year  excelled  all  pre- 
cedent. The  Secretary,  Mr.  McMichael, 
seemed  to  have  an  admirable  compre- 
hension of  the  things  to  be  done,  and  he 
admirably  did  them  all,  just  at  the  right 
time  and  in  the  right  place.  He  made  no 
noise  about  it.  He  went  in  and  out  among 
us  quietly,  and  all  we  knew  was  that  noth- 
ing seemed  to  be  forgotten. 

The  editors  of  the  magazines  were  made 
to  feel  good  by  the  provision  of  desks  and 
enclosures  for  them  all. 

The  treasurer  was  in  good  position,  and 
with  great  promptness,  and  system,  and 
resignation,  met  his  dues. 

The  planning  of  space  and  the  installa- 
tion of  the  exhibits  in  the  Exhibition  Hall 
could  not  be  improved. 

Our  old  stenographer,  Dr.  C.  H.  Morgan, 
was  the  reporter  of  the  proceedings,  and 
promptly  each  morning  supplied  the  Secre- 
tary with  enough  copies  to  give  each  edi- 
torial gourmand  a  copy,  all  at  one  and  the 
same  time. 

The  Executive  Committee  were  in  con- 
tinual attendance  to  settle  any  slight  ruffle 
that  might  arise,  and  to  see  the  work  of 


their  hands  going  on  smoothly  and  success- 
fully. 

The  President,  James  Landy,  Esq.,  with 
great  suavity  and  dignity  filled  his  position, 
and  became  deservedly  more  popular  as  the 
meetings  proceeded. 

In  another  place  we  give  a  running  ac- 
count of  the  exhibits.  Those  of  the  pho- 
tographers were  fewer  than  usual,  but  their 
average  grade  was  admirable  and  higher 
than  usual.  The  foreign  pictures  were  a 
great  treat.  The  dealers  and  manufacturers 
far  excelled  any  exhibit  held  heretofore  as 
a  whole,  and  all  did  well,  we  believe. 

The  prizes  and  awards  were  given  and 
received  with  good  spirit,  and  most  gener- 
ous offers  were  made  for  another  year. 

We  have  crept  upward  and  onward  once 
more,  and  we  feel  good.  Prices  are  low, 
and  the  public  are  depreciative.  But  we 
can  escape  from  all  that  if  we  are  diligent 
and  cheerful. 

So  let  us  be,  and  with  a  hearty  zeal  pre- 
pare for  St.  Louis. 


DOTTED  DOWN  DURING  DEBATE. 

Was  it  not  a  remarkable  treat  to  see  such 
men  as  Mess.  Cramer  and  Cooper  in  debate  ? 
The  instruction  obtained  from  them  was 
immense.  Mr.  James  Inglis  is  a  practical 
man,  and  let  out  a  great  deal  of  usefulness. 

Words  of  wisdom  came  from  the  lips  of 
Messrs.  Croughton,  Carbutt,  Mawdsley, 
and  other  debaters,  who  always  held  the 
house. 

"Now  throw  up  all  your  hats,"  said 
Mr.  J.  Inglis  to  the  group  of  photog- 
raphers, as  he  exposed  his  third  plate.  The 
first  one  was  with  Mr.  Dixon  turning  somer- 
saults across  the  foreground,  the  second  with 
Mr.  Inglis,  Jr.,  darting  across  sitting  on 
his  bicycle. 

Have  you  seen  your  hats  since?  Some  of 
them  are  higher  than  any  "stove-pipe." 

Bead  our  report  sure. 

Art  is  getting  a  chance  among  us.  Let  it 
come  in  and  influence  you. 

It  rained  the  first  day,  and  a  leaky  roof 
put  the  exhibitors  to  a  great  deal  of  trouble. 
The  elements  seemed  to  oppose  us,  but  we 
overcame  fire  and  water  and  had  a  good 
time. 


THE   PHILADELPHIA    PHOTOGRAPHER. 


279 


The  useful  little  people,  Clarence  R. 
MeMichael  and  Beatrice  McMichael.  chil- 
dren of  the  Secretary,  will  never  be  for- 
gotten by  the  attendants  at  the  Convention, 
for  their  attention  to  the  mail  department, 
and  for  many  other  courtesies.  Personally 
we  thank  them  much. 

The  public  should  see  our  exhibitions 
more  than  they  have  in  the  past ;  we  want 
the  people  to  know  how  we  grow,  and  to 
think  more  highly  of  our  work. 

At  least  calculation  our  Convention  di- 
verted $25,000  from  regular  courses.  In 
other  words,  it  cost  that  much.  Could  not 
a  great  deal  more  of  good  be  had  for  such  a 
stupendous  sum  ?  Let  us  agree  to  stay  at 
home,  year  after  next,  put  the  money  aside, 
and  give  it  to  an  endowment  fund.  With 
the  interest  we  could  support  our  meetings, 
and  supply  some  of  the  best  talent  for  our 
improvement. 

Better,  we  could  use  the  capital  to  procure 
a,  permanent  site  for  our  conventions. 

Then  we  could  establish  a  school  of  pho- 
tography under  our  wing. 

Degrees  could  be  conferred. 

Then  we  could  build  up  a  museum. 

Then  we  could  grow  more  rapidly,  and 
do  more  good  with  our  money. 

It  should  be  at  some  resort  where  many 
thousands  of  the  public  would  annually  go 
and  see  and  hear  of  our  work. 

It  would  place  us  up  ever  so  high. 

It  would  be  a  place  for  all  photographers 
to  make  a  pilgrimage  to,  at  all  times  of  the 
year. 

Then  we  could  talk  about  the  dignity  of 
the  photoic  art. 

We  would  see  our  art  in  better  repute. 

We  should  get  curiosity  excited  about  us 
and  get  a  name. 

We  should  grow  and  never 
stop. 

What  is  said  by  the  Press. 

"For  our  own  part,  we 
had  a  week  of  unalloyed  en- 
joyment. The  meeting  of  so 
many  prominent  men  in  the 
photographic  world  was  a  very  great  pleas- 
ure, and  we  shall  never  forget  the  faces  of 
those  we  met  in  Buffalo." — Anthony's 
Bulletin. 

That  it  has  proved  interesting  and  suc- 


cessful in  an  extraordinary  degree,  and  be- 
yond the  expectations  even  of  the  officers,  is 
a  fact  altogether  beyond  dispute,  and  at  the 
close  of  the  meetings  we  did  not  hear  or 
learn  of  a  single  expression  of  dissatisfac- 
tion.— Photographic  Times  and  American 
Photographer. 

The  like  of  it  was  never  seen  before,  and 
it  is  a  safe  prediction  that  it  will  be  no  easy 
matter  to  produce  another  equal  to  it.  The 
Convention  was  a  grand  success,  and  too 
much  praise  cannot  be  given  to  those  whose 
untiring  efforts  called  it  into  being  and  con- 
ducted it  to  such  a  successful  termination. — 
The  St.  Louis  Photographer. 


A  NEW  AND  USEFUL  ATTACH- 
MENT FOR  THE  PHOTOGRAPH 
BURNISHER. 

It  consists  in  a  very  simple  and  inex- 
pensive arrangement,  that  is  easily  attached 
to  any  burnisher  now  in  use,  allowing  the 
same  to  burnish  any  size  card  up  to  one  that 
is  almost  twice  the  width  of  the  burnisher. 


The  card  is  placed  in  the  burnisher  in  the 
usual  way,  burnished  as  far  as  the  burnisher 
will  reach,  then  turned  and  finished.  The 
slight  taper  at  the  end  of  the  roller  allows  the 
burnish  to  taper  out  to  nothing  each  time 


as  the  card  is  passed  through,  with  a  slight 
lap.  There  can  be  no  line  or  mark,  for  it 
blends  the  burnish  in  so  nicely,  that  it  is 
impossible  for  any  one  to  tell  where  the 
burnish  meets ;  in  this  way  photographers 


280 


THE    PHILADELPHIA    PHOTOGRAPHER 


can  add,  at  a  trifling  cost,  any  extension  to 
their  burnishers  that  they  may  want,  from 
three  to  twelve  inches,  twelve  being  the 
largest  required.  As  it  is  very  easy  attached 
or  detached,  it  can  be  removed  at  any  time 
and  the  burnisher  used  in  the  ordinary  way, 
or  may  be  used  on  the  burnisher  all  the 
time,  just  as  parties  may  see  fit.  It  allows 
of  better  burnishing,  as  there  is  less  surface 
to  burnish  at  one  time  ;  it  saves  in  heating, 
as  a  small  burnisher  will  do  the  work  of  a 
large  one,  and  with  its  use  there  will  be  no 
need  for  two  or  three  burnishers  to  do  the 
work  of  one  gallery. 

Parties  wishing  to  engage  in  the  manu- 
facture  and  sale  of  these  extensively,  can 
secure  a  bargain  by  addressing  the  inventor, 
Charles  Dorset, 

Look  Haven,  Pa. 


PHOTOGRAPHY  AT  THE  NEW 
ORLEANS  EXHIBITION. 

(Continued  from  page  221.) 

The  Museum  of  the  Photographic  De- 
partment is  certainly  found  in  the  section 
which  is  under  the  control  of  the  Depart- 
ment of  State.  In  this  department  the 
manufactured  goods  of  every  country  is 
represented,  and  from  many  of  them  pho- 
tographs have  been  sent.  They  are  neither 
classified  nor  arranged  in  any  particular 
order,  and,  therefore,  we  shall  mention 
them  just  as  they  came  to  us  in  a  hasty 
walk  through  the  department.  First,  we 
see  the  cattle  industry  of  the  world  repre- 
sented by  photographs  of  blooded  stock. 
We  have  no  possible  way  of  getting  at  the 
names  of  the  photographers  in  this  class, 
but,  judging  from  the  physique  of  the  at- 
tendants, we  are  sure  some  of  them  are  from 
Holland,  some  from  Switzerland,  and  some 
from  Scotland.  A  series  of  views  of  Am- 
sterdam comes  next ;  these  are  followed  by 
a  fine  but  small  collection  of  views  in  Ire- 
land, street  scenes,  round  towers,  castles, 
abbeys,  and  churches,  but,  so  far  as  our  eyes 
are  able  to  reach,  we  cannot  observe  the 
name  of  the  photographer.  A  very  pretty 
view  of  Stockholm,  in  Sweden,  is  found  as 
we  pass  on  toward  the  collection  which  is 
labelled  "Diplomatic  Relations,"  in  which 
the     principal     pictures     are    from    Italy. 


Among  them  we  find  a  portrait  of  Gari- 
baldi, Victor  Emmanuel  and  his  wife,  views 
of  Florence,  Genoa,  Naples,  Rome,  statuary 
of  the  Vatican,  some  double  examples  of 
sculpture  by  modern  artists,  principally  of 
the  tombs.  On  the  other  side  of  this  up- 
right we  have  some  very  pretty  artistic 
pictures,  bathing  scenes,  marine  views,  bits 
of  gardens,  fishermen,  bathers,  gleaners, 
and  water  girls,  which  are  very  pretty. 
They  are  by  E.  Interguglulmi  &  Co. 
These  pictures  are  mounted  a  little  different 
from  what  we  generally  see ;  the  print  is 
6  x  10,  mounted  on  a  gilt  card  with  a  black 
and  gilt  line  next  to  the  picture,  then  a 
broad  gilt  line  three-quarters  of  an  inch  in 
width,  then  another  series  of  gilt  and  black 
lines  at  the  outside,  finishing  with  a  bev- 
elled gilt  edge,  round  corners,  the  card 
being  9x13.  Quite  a  large  number  of 
photographs  are  standing  in  this  depart- 
ment unhung,  from  various  quarters.  One 
frame  is  by  A.  Camarchof,  at  Madeira. 
The  child  pictures  are  very  pretty,  and 
some  attempts  at  genre  work  are  also  quite 
creditable.  Julius  Brattz,  of  Stetten,  is 
also  represented  here  by  several  frames  of 
enlargements,  of  a  quality  which  we  think 
he  would  have  withheld  had  he  visited  one 
or  two  of  our  conventions.  However,  we 
admire  his  enterprise  in  sending  his  work 
to  the  Exposition,  though  poor.  We  are 
surprised  and  delighted  with  a  splendid 
series  of  views  by  Mr.  J.  W.  Lindt,  Mel- 
bourne, Australia.  The  pictures  of  Austra- 
lian aboriginals  are  particularly  fine,  and 
the  best  we  have  ever  seen  of  their  kind. 
The  views  of  Melbourne  are  magnificent, 
while  some  of  the  views  of  the  upper  falls, 
Erskine  River,  give  us  not  only  splendid 
views  of  scenery,  but  examples  of  superb 
photography,  rarely,  if  ever,  found  excelled. 
Mr.  Lindt  is  certainly  a  splendid  photog- 
rapher; his  pictures  are  all  glaced,  mounted 
on  black  cards  with  gilt,  bevelled  borders. 
On  the  other  side  of  this  upright  are  some 
fine  views  of  lighthouses  in  Australia,  and 
some  of  the  public  buildings.  They  are 
fine  examples  of  architectural  work,  caught 
just  at  the  right  moment  of  architectural 
light  for  such  structures,  and  very  well 
handled  in  every  way.  It  gives  us  pleasure 
to  announce  that  they  were  made  by  Mr. 


THE    PHILADELPHIA    PHOTOGRAPHER. 


281 


Nettleton,  Melbourne,  Aus.  Messrs.  Fraser 
&  Sons,  Toronto,  Canada,  display  in  this 
department,  four  frames  of  cabinet  portraits, 
which  are  excellent,  of  course,  and  show 
that  our  old  friend  has  still  within  him  the 
feeling  that  stamps  his  individuality  upon 
his  work  as  plainly  as  it  did  years  ago,  as 
well  as  upon  his  talented  sons.  Among  the 
South  American  industries  are  some  fine 
photographs  of  sheep.  Photograph}'  holds 
the  place  of  honor  in  this  department,  for 
in  the  very  centre  of  the  front  are  several 
frames  of  photographs  surrounding  a  cen- 
tral painting  of  President  Cleveland.  They 
include  a  series  of  portraits  of  the  Presidents 
of  the  United  States,  and  of  some  of  the 
great  statesmen  thereof.  A  fine  portrait  of 
Senator  Bayard  hangs  over  the  whole. 

Mr.  S.  H.  Parsons,  St.  Johns,  New- 
foundland, is  represented  by  a  series  of 
views  of  dry  docks,  river  scenery,  and 
views  of  shipping,  and  Mr.  C.  Nettleton,  of 
Carlton,  exhibits  a  similar  collection  of 
ships  in  the  dry  docks,  and  of  machinery 
pertaining  to  the  docking  of  ships,  which 
collection  we  find  in  the  Naval  Department 
of  the  State.  In  the  same  department  we 
find  a  very  large  series  illustrating  the  work 
of  the  Inter-Oceanic  Panama  Canal  Com- 
pany, of  which  de  Lesseps  is  president. 
The  views  of  Colon,  Panama,  and  map  of 
proposed  canal  route,  dredging  machines, 
engines,  and  other  machines  useful  in  canal 
building,  are  here  shown  very  elaborately, 
but  the  name  of  the  photographer  is  hidden 
from  our  vision.  Why  any  man  should 
allow  one  hundred  of  the  splendid  examples 
of  his  work  to  be  exhibited  in  such  a  place 
as  this  without  his  name  thereon  we  cannot 
see.  It  may  be,  however,  that  he  is  afraid 
he  would  have  fault  found  with  him  for 
using  the  same  cloud  negative  in  so  many 
of  his  pictures.  The  collection  is  centred 
by  a  very  fine  portrait  of  Count  de  Lesseps, 
which  bears  the  name  of  Bradley  &  Ru- 
lophson,  San  Francisco,  Cal. 

The  Department  of  Justice  makes  a  very 
novel  use  of  photography.  In  this  depart- 
ment there  are  very  large  diagrams  showing 
the  different  quarters  of  the  Union  divided 
into  judicial  districts,  and  at  the  top  of  each 
chart  are  found  diagrams  of  the  court  build- 
ings of  the  United  States.     Without  pho- 


tography these  charts  would  look  very 
plain,  but  as  they  are  here  elaborated,  they 
look  very  beautiful.  This  same  department 
exhibits  a  large  series  of  reform  school 
buildings  in  various  parts  of  the  country, 
and  of  the  inmates  thereof  at  iheir  work, 
both  in  the  field  and  in  the  factory,  and 
also  interior  views  of  reform  schools.  The 
jail  of  the  District  of  Columbia  is  repre- 
sented by  a  very  fine  series  of  views,  ex- 
terior and  interior.  Some  views  of  the 
Supreme  Court  buildings  of  the  United 
States,  interior  and  exterior,  also  do  credit 
to  the  photographer,  whoever  he  may  be. 
We  are  glad  to  announce  that  the  Utah 
Penitentiary  was  photographed  by  Mr. 
Newcomb,  of  Salt  Lake,  and  he  need  not 
be  ashamed  of  placing  his  name  upon  his 
work,  for  it  is  excellent. 

There  are  in  the  United  States  Army 
Medical  Department,  we  should  judge,  quite 
a  thousand  photographs  illustrating  the  va- 
rious works  of  its  department.  First,  a  col- 
lection of  the  surgeons  of  the  department ; 
over  these  hangs  a  series  of  photo-micro- 
graphs, by  Dr.  J.  S.  Woodward,  of  blood 
corpuscles,  muscles,  lungs  of  animals,  and 
hundreds  of  other  things  enlarged  from  275 
to  7200  diameters  or  more.  These  splendid 
examples  of  the  lamented  Woodward's  work 
are  well  known  to  scientists.  Another  col- 
lection, by  Dr.  Geo.  M.  Sternberg,  of  vari- 
ous surgical  subjects  is  illustrated  by  means 
of  transparencies  varying  in  diameter  from 
6  to  12  inches,  over  one  hundred  in  num- 
ber. A  few  transparencies  on  glass  of 
similar  subjects,  by  Prof.  Hess,  are  colored 
very  beautifully.  Dr.  Woodward  is  again 
represented  by  his  photo-micrographs  of 
animal  subjects,  for  which  he  was  so  famed 
among  scientists  during  his  life.  A  large 
collection  of  photographs  illustrating  am- 
putations and  other  surgical  operations  are 
disgusting,  but  interesting  to  science,  and, 
of  course,  has  its  many  uses.  The  curiosity 
of  this  department  is  a  frame  containing 
nine  daguerrotypes,  by  Prof.  Draper,  of 
New  York,  of  objects  as  seen  with  the  mi- 
croscope. They  were  made  in  New  York 
in  1850  and  1852.  A  series  of  photographs 
of  skeletons  of  persons  of  various  nativities 
helps  to  make  this  collection  lively,  and  is 
enhanced  by  a  collection  of  skulls  made  by 


282 


THE    PHILADELPHIA    PHOTOGKAPHEP. 


Dr.  John  S.  Billings,  Curator  of  the  Army- 
Medical  Museum,  made  by  the  composite 
photograph  method  suggested  by  Mr. 
Francis  Galton,  F.K.S.,  with  which  our 
readers  have  been  made  familiar  by  former 
allusions  and  descriptions. 

We  omitted  to  mention  that  in  the  Smith- 
sonian Institution  Department  we  find 
several  microphotographs  printed  in  pla- 
tinum, the  work  of  our  friend,  Thomas 
Pray,  Jr.,  of  New  York.  There  are  seven 
in  all,  including  two  spectro-photo-micro- 
graphs,  which  are  probably  the  largest  in 
the  world,  and  have  been  so  stated  by  men 
abroad.  We  are  glad  to  announce,  too, 
that  Mr.  Pray's  labors  in  this  direction 
have  been  practically  recognized  in  Eng- 
land by  scientific  men,  and  at  the  April 
meeting  Mr.  Pray  was  elected  a  Fellow  of 
the  Micrographic  Society.  He  has  been 
most  industrious  in  this  direction,  and  we 
are  glad  to  know  that  his  talent  has  been 
recognized.  Certainly  no  greater  reach 
has  been  made  in  photo-micrography  than 
that  attained  by  Mr.  Pray. 

So  much  for  the  United  States  ;  and  well 
has  it  done  for  photography.  We  now 
leave  the  main  floor  and  ascend  to  the 
gallery,  which  was  devoted  to  woman's 
work,  temperance,  and  education. 

We  enter  the  Iowa  Department  first, 
where  we  find  photography  well  repre- 
sented in  the  Women's  Department  by  Mr. 
J.  E.  Bilbrough,  of  Dubuque,  Iowa. 
Around  a  splendid  portrait  of  Mr.  Bil- 
brough himself  is  a  collection  of  cabinet, 
boudoir,  and  other  photographs,  which  do 
him  full  credit.  One,  of  a  Swiss  flower  girl, 
is  the  gem  of  the  collection,  and  is  exceed- 
ingly well  done. 

In  the  Kansas  Department  Mr.  and  Mrs. 
A.  B.  Sipple  and  Mr  J.  F.  Standiford,  all 
of  Parsons,  Kansas,  make  a  small  exhibit 
of  photographs.  Mr.  and  Mrs.  Sipple  dis- 
play some  very  beautiful  cabinet  pictures, 
those  of  children  being  more  particularly 
worthy  of  mention.  Some  views  of  resi- 
dences by  this  gentleman  are  also  quite 
good.  Mr.  Standifer  gives  some  views  of 
public  buildings  at  Parsons,  interior  and 
exterior,  which  show  some  considerable 
merit. 

Some   architectural   views   of    Yankton, 


Dakota,  and  public  school  buildings  are 
without  name.  Mr.  F.  Jay  Haynes  is 
again  represented  very  well  by  some  views 
of  the  Fargo  public  schools. 

Mr.  I.  W.  Taber,  San  Francisco,  Cal., 
exhibits  in  the  Women's  Department  of  that 
State  about  three  hundred  pictures  of  babies, 
undoubtedly  the  finest  collection  of  juveniles 
ever  gathered  together.  Mr.  Taber  must 
have  had  lots  of  fun  in  his  quiet  way  when 
these  pictures  were  made  ;  more  undoubtedly 
than  did  some  of  the  babies,  judging  from 
the  expression  of  their  faces.  Some  of  these 
studies  we  recognize  as  being  in  our  own 
collection.  Mr.  E.  D.  Ormsby,  Oakland, 
Cal.,  is  represented  by  a  similar  series  of 
children,  and  his  collection  is  balanced,  on 
the  other  side,  by  some  views  of  the  "  Stan- 
ford Free  Kindergarten  at  San  Francisco." 
The  grouping  of  the  children  is  particularly 
fine.  The  Lick  Observatory  at  San  Fran- 
cisco is  largely  illustrated  by  the  photo- 
graphs of  H.  E  Matthews,  of  San  Francisco. 
The  portrait  of  Mr.  James  Lick,  the  donor, 
centres  the  group.  Some  views  of  the  In- 
dian school  at  Albuquerque,  New  Mexico, 
illustrate  the  workings  of  that  splendid  es- 
tablishment, by  means  of  views  and  por- 
traits of  the  pupils. 

The  photograph  of  the  African  Union 
Church  of  Wilmington,  Delaware,  together 
with  a  number  of  views  of  Freedman's 
schools,  hangs  in  the  colored  people's  de- 
partment, without  name.  Schofield  Bros., 
Westerly,  R.  I.,  exhibit  in  the  same  de- 
partment a  series  of  architectural  views. 
In  the  South  Corolina  department  of  colored 
people  Mr.  Harvey  Husbands,  of  Louis- 
ville, Ky.,  exhibits  a  frame  of  cabinet  and 
boudoir  pictures  which  may  be  termed  ex- 
cellent. A  little  card  beneath  tells  us  that 
he  made  them  throughout,  and  he  may  well 
be  proud  of  them,  for  in  position,  touch, 
light,  etc.,  they  are  excellent.  A  group  of 
the  State  Commissioners  of  the  Colored  De- 
partment is  hanging  close  by.  The  photo- 
graphs were  made  by  various  photographers 
with  whose  names  we  are  all  familiar.  A 
series  of  views  of  the  Freeman's  Mission 
Churches  of  various  cities  of  the  country 
are  in  the  Kentucky  department.  Another 
series  of  portraits  by  Mr.  Husbands  is  in  the 
same   department.      The    portraits    are    of 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


283 


ministers,  missionaries,  State  Senators,  and 
public  men  engaged  in  the  cause  of  the 
freedmen. 

J.  C.  Farley,  photographer,  Richmond, 
Va.,  exhibits  a  fine  collection  of  cabinet 
portraits  of  colored  people,  which  in  every 
photographic  element  is  really  successful. 
The  Freedmen 's  Aid  Society  makes  use  of 
photography  in  illustrating  its  college  and 
school  work,  its  medical  department,  its 
charitable  institutions,  etc.  A  collection  of 
the  buildings  of  Straight  University  at 
New  Orleans,  together  with  some  groups  of 
the  pupils,  show  how  important  this  work 
is,  and  opens  the  eyes  of  some  people  to  its 
work.  The  Hampton  Normal  and  Agri- 
cultural Institute,  at  Hampton,  Va.,  makes 
a  splendid  display  illustrating  the  library; 
wigwam,  gymnasium,  and  various  other 
departments.  Some  of  a  group  of  newly 
arrived  Indians  are  represented  as  home- 
sick, but  on  the  other  side  of  the  collection 
we  find  a  group  of  pupils  who  have  been  at 
the  Institute  but  a  year  of  a  very  different 
mood,  and,  altogether,  as  cheerful,  bright, 
and  happy  looking  as  can  be. 

Alaska.  The  Sheldon  Jackson  Institute 
at  Juneau,  Alaska,  sends  a  series  of  photo- 
graphs of  mission  buildings  and  Indian' 
curiosities  from  that  far  off  region,  made  by 
Mrs.  K.  Maynard,  Victoria,  V.  I. 

In  the  Virginia  educational  section  is  a 
large  collection  of  photographs  of  the  uni- 
versities, public  schools,  memorial  churches, 
court  houses,  and  other  public  buildings  of 
the  States,  the  larger  portion  of  which 
were  made  by  Foster,  Campbell  &  Co., 
Richmond,  Va.  This  collection  illustrates 
very  particularly  the  improvement  in  school 
houses  that  has  been  made  since  the  old 
picturesque  structure  of  Pulaski  County 
was  erected.  Some  of  these  woodside  struc- 
tures were  photographed  by  Noel,  at  New- 
burn,  Va. 

Tennessee.  The  educational  department 
of  Tennessee  makes  photography  of  great 
service  in  illustrating  its  school  houses, 
normal  schools,  and  various  educational  de- 
partments for  the  colored  and  white  people. 
A  group  of  the  Board  of  Education  at  Jack- 
son, Tenn.,  and  several  groups  of  teachers, 
help  to  make  this  collection  interesting. 
The  topographical  map  of  the   Vanderbilt 


University  campus,  Nashville,  Tenn.,  is 
graced  by  a  series  of  pretty  little  views  of 
residences  of  the  professors,  from  which  we 
may  gather  that  the  professors  are  well 
treated  at  the  Vanderbilt  University.  The 
largest  photograph  of  the  collection  is  a 
composition  picture  of  the  University  of 
Tennessee  at  Knoxville,  by  Lindsey  & 
Hodges.  Mr.  C.  S.  Judd,  Columbia,  Tenn., 
is  represented  by  a  14  x  17  view  of  the 
Columbia  Female  Institute. 

Ohio.  In  the  Ohio  section  we  find  the 
public  school  buildings  splendidly  photo- 
graphed by  Mr.  W.  S.  Gooduough ;  the 
interiors  are  particularly  fine,  and  the 
whole  collection  is  tastefully  gotten  up. 
In  the  reception  room  of  the  Ohio  section 
is  a  large  serios  of  architectural  views  of 
the  public  school  buildings  of  the  various 
cities  of  the  State,  and  among  the  photo- 
graphs we  notice  that  Powelson,  of  Cleve- 
land, is  not  ashamed  to  acknowledge  his 
work. 

Indiana.  The  district  schools  of  Indiana 
make  a  splendid  showing  by  means  of  pho- 
tography. Some  of  the  village  schools  are 
very  quaint  in  architecture,  but  still  may 
be  just  as  able  to  teach  the  young  idea  how 
to  shoot.  Some  of  these  days  we  may  see 
photography  taught  in  all  these  wayside 
places  of  learning.  Why  not  ?  Probably 
three  hundred  photographs  are  used  by  In- 
diana for  this  purpose.  The  collection  has 
been  carefully  and  systematically  made. 
There  is  some  mighty  bad  photography 
among  them,  and  we  trust  that  the  chil- 
dren who  frequent  these  schools  will  not  be 
made  cross-eyed  or  dizzy  by  the  study  of 
some  of  these  photographs.  If  they  do,  we 
shall  be  able  to  recognize  them  in  the  future 
when  we  meet  them,  by  one  shoulder  being 
higher  than  the  other,  and  their  noses  higher 
in  the  air,  or,  in  plain  English,  turned  up, 
which  is  more  interesting  in  art  than  it  is 
beautiful  in  nature. 

Nebraska.  History  is  repeated  by  the 
State  of  Nebraska,  for  we  see  the  public 
schools  of  that  mighty  section  of  our 
country  likewise  shown  us  by  photography, 
though  not  so  extensively  ;  but,  perhaps, 
there  are  not  so  many  schools  yet  in  Ne- 
braska as  there  are  in  Indiana.  Nearly 
every  one  of  these  are  straight.     A  distinc- 


284 


THE   PHILADELPHIA    PHOTOGKAPHEK. 


tive  exhibit  is  made  by  the  Koman  Catholic  I 
church  school. 

Minnesota.  Minnesota  makes  a  fine  ex- 
hibition  of  its  State  Normal  School,  for  here 
are  exterior  and  interior  views  of  school  and 
chapel,  practising  department,  physical  de- 
partment, geographical  quarters,  class  room, 
zoological  section,  etc.  A  large  series. 
The  State  Normal  School  at  "Winona, 
more  ambitious  than  the  rest,  has  had  views 
of  its  Kindergarten  and  other  departments 
colored.  The  yellow  element  is  intro- 
duced almost  too  much  to  make  the  effects 
pleasing  ;  some  of  the  pictures  look  as  if 
they  were  faded.  The  collection  is  a  very 
excellent  one,  and  well  arranged.  Other 
groups  of  photographs  are  of  the  school 
houses  of  the  State,  illustrated  according  to 
their  standing  and  to  the  care  devoted  upon 
them  by  their  professors.  Some  of  the  High 
School  buildings  in  Minnesota  are  arranged 
very  beautifully  likewise,  but  by  whom  we 
are  willing  to  be  informed.  Our  friend, 
Mr.  A.  F.  Burnham,  Fairbault,  Minn.,  ex- 
hibits a  collection  of  views  of  the  Seabury 
Mission  Church,  which  is  very  pretty.  One 
of  the  Woodside  School  House,  half  covered 
with  leaves  and  trees,  is  a  particularly 
pretty  bit. 

Iowa  Iowa  is  not  behind  its  sister  states 
in  the  use  of  photography,  and  we  find  all 
through  its  educational  department  views 
of  schools,  school-houses,  normal  schools, 
with  their  different  departments  made  by 
anonymous  photographers,  and  others,  in- 
cluding Lancaster  Bros.,  Waterloo,  Iowa. 
Our  old  friend,  Mr.  J.  De  Baines,  of  Du- 
buque, Iowa,  gives  us  evidence  of  the  fact 
that  the  fire  still  flames  within  him,  by  a 
frame  of  splendid  portraits  which  hang  over 
the  door  of  the  Iowa  department,  centred 
by  a  picture  of  himself.  This  is  a  real  sur- 
prise to  us,  and  we  congratulate  our  old 
friend  on  his  continued  success.  He  is 
every  inch  an  artist. 

New  Hampshire.  The  public  schools  of 
Concord,  JST.  H.,  are  displayed  in  all  their 
beauty  by  means  of  the  art  work  of  our 
friend  Kimball,  of  that  city.  His  views 
show  the  neat,  clean,  tasteful  photographer 
throughout,  and  are  well  worthy  of  their 
place  in  the  educational  exhibit  of  this  im- 
portant State. 


In  Ward's  Zoological  Museum  we  find 
photography  made  great  use  of  for  the  dis- 
play of  specimens  prepared  and  sent  to  va- 
rious institutions  by  Prof.  Ward. 

The  Christian  Brothers'  College,  of  Mem- 
phis, Tenn.,  has  a  department  of  its  own  in 
the  educational  section,  and  has  not  failed 
to  use  photography.  Some  groups  of  the 
classes  are  particularly  well  taken,  and 
other  photographs  of  preparations,  draw- 
ings, portraits,  works  of  art,  and  the  mission 
schools  of  the  Brotherhood  are  displayed 
here. 

St.  Michael's  College,  Santa  Fe,  New 
Mexico,  and  St.  Mary's  Parochial  School, 
Yonkers,  N.  Y.,  also  use  photography  for 
the  illustration  of  the  various  fields  of  their 
work,  in  and  out  of  doors.  The  views,  we 
presume,  were  done  by  some  of  the  pupils 
of  the  various  schools. 

The  same  use  is  made  of  photography  by 
the  New  York  Catholic  Protectory,  where 
we  see  the  young  misses  employed  at  their 
various  avocations,  such  as  glovemaking, 
dressmaking,  machine  sewing,  embroi- 
dery, etc. 

New  Jersey.  In  the  New  Jersey  Educa- 
tional Department  we  find  some  two  hun- 
dred photographs  of  the  public  schools  of 
JSIew  Jersey,  arranged  in  a  novel  manner. 
They  are  framed  in  solid  walnut  frames, 
very  plain.  In  one  edge  of  the  frame  two 
small  screw  eyes  are  placed,  which  serve  as 
eyes  to  hang  upon  iron  hooks  placed  in  two 
strips  which  are  nailed  to  an  upright. 
Thus  the  frames  can  be  turned  over  and 
over  like  the  leaves  of  a  book.  Among  the 
names  of  the  photographers  represented 
here  are  Kockwood,  N.  Y.  ;  Stacy,  Eah- 
way,  N.  J.  ;  Pach  Bros.,  N.  Y.  ;  Pine 
Bros.,  Trenton,  N.  J.  ;  W.  H.  Hill,  Eliza- 
beth, N.  J  ;  T.  F.  Crane  &  Co.,  Newark, 
N.  J,;  and  Chestnut  &  West,  Vineland, 
N.  J.  Mr.  W.  W.  Silver,  K.  Y..  exhibits 
a  series  of  14x17  views  of  several  of  the 
collegiate  institutions  of  New  Jersey. 

The  Workingman's  School  and  Free 
Kindergarten,  New  York,  has  employed 
Pach  Bros,  photographers,  and  fortunate 
were  they,  because  here  is  a  fine  series  of 
views  of  the  geographical  class,  model  room, 
reception  room,  school  workshop,  drawing 


THE   PHILADELPHIA    PHOTOGRAPHER. 


285 


class,  cast  room,  etc.,  all  most  excellently 
done. 

The  Indian  Industrial  School  at  Carlisle, 
Pa.,  we  find  again  photographed  in  the 
Pennsylvania  Educational  Section,  a  dupli- 
cate almost  of  the  series  that  has  been  be- 
fore mentioned,  and  the  work  of  the  veteran 
photographer,  Choate,  of  Carlisle. 

Mr.  F.  Green,  Meriden,  Conn,  contributes 
of  his  talent  in  a  series  of  views  of  the  State 
Reform  School  of  that  city.  Mr.  D.  A. 
Cobb  is  the  photographer  for  the  Wisconsin 
Industrial  School  for  Girls.  Both  of  these 
gentlemen  have  done  their  work  well. 

"We  now  reach  the  United  States  Educa- 
tional Department.  Here  are  the  institu- 
tions for  the  deaf  and  dumb,  for  the  blind, 
for  the  imbecile,  and  for  the  education  of 
the  inmates  of  reform  schools,  all  given  a 
fine  showing  by  means  of  our  art.  The 
Toner  collection  of  portraits  of  professors  in 
medical  colleges,  of  course  includes  the  work 
of  a  good  many  photographers.  The  gem  of 
all  these  is  by  Mr.  F.  Gutekunst,  of  Phila- 
delphia, a  series  of  portraits  of  the  Faculty 
of  the  University  of  Pennsylvania. 

The  Charity  Hospital  of  New  York 
makes  a  splendid  display  of  photographs  of 
the  nurses  of  the  male  and  female  depart- 
ments, and  of  the  various  workings  of  this 
splendid  institution.  The  New  York  Hos- 
pital Training  School  for  Nurses  makes  a 
similar  display  of  photographs  of  its  nurses, 
its  grading  schools,  and  the  work  in  its  va- 
rious departments.  A  little  dark-room  in 
this  department  is  devoted  to  the  exhibition 
of  transparencies  of  micro-photo  work. 

The  University  of  Tennessee  has  employed 
some  photographer  whose  name  has  been 
spirited  away,  to  make  a  series  of  views  of 
the  College  and  its  various  buildings,  in- 
cluding views  of  the  laboratory,  the  mu- 
seum, the  various  class  rooms,  chapel,  ob- 
servatory, and  the  assembly  room,  which 
are  real  good  examples  of  photography,  and 
the  author  of  the  pictures  ought  to  have 
credit. 

The  Agricultural  and  Mechanical  Col- 
lege of  Mississippi  has  been  alike  generous, 
and  gives  us  the  pleasure  of  a  series  of 
splendid  views  of  the  students  at  work,  of 
the  various  departments,  of  the  stock,  and 
of  the  professors.     In  this  last  list  we  find 


the  names  of  everybody,  from  the  gray- 
bearded  president,  down  through  the  list  of 
professors,  to  the  hospital  steward,  but  the 
photographer  is  entirely  forgotten. 

The  Amherst  College,  Massachusetts,  dis- 
plays a  series  of  portraits  of  its  faculty, 
splendid  views  of  the  college  church,  the 
various  departments  of  learning,  some  of 
which  are  named  in  Greek,  and  some  in- 
scriptions, together  with  the  class  exercises 
in  the  main  hall  of  the  gymnasium,  the 
library,  reading  room,  and  views  from  the 
chapel  tower  of  the  town  of  Amherst,  the 
work  of  some  of  the  students,  undoubtedly, 
as  they  belong  to  the  no-name  series. 

Mr.  F.  E.  Ives,  of  Philadelphia,  will  be 
glad  to  know  that  the  Cornell  University 
exhibits  a  large  number  of  his  pictures, 
from  negatives  made  to  illustrate  the  Uni- 
versity in  its  various  departments,  its  build- 
ings, and  its  work. 

The  High  School  at  Washington,  D.  C, 
with  all  its  varied  workings,  is  illustrated 
by  means  of  a  fine  collection  of  photographs. 
Students  at  the  table  and  chemical  labora- 
tory, at  their  easels  in  the  drawing  room, 
drilling  on  the  campus,  in  the  lecture  room, 
etc.,  are  all  seen  here. 

The  Baltimore  School  of  Cookery  has 
employed  Messrs.  Blessing  &  Kuhn  to  pho- 
tograph its  building.  The  interior  view  of 
the  kitchen  is  particularly  interesting.  The 
grammar  schools  of  Washington,  D.  C,  are 
photographed  in  and  out.  Some  of  the 
groups  of  classes  are  excellent. 

The  Boston  public  schools  are  evidently 
good  patrons  of  photography,  judging  from 
the  fine  collection  that  we  see  representing 
them  in  their  various  workings,  reaching 
from  the  nurseries  to  the  printing  rooms. 

The  Fitch  Creche  School,  Buffalo,  N.  Y., 
displays  some  very  pretty  Kindergarten 
groups,  together  with  some  fine  views,  in- 
side and  out. 

The  Chautauqua  Assembly  is  well  repre- 
sented by  photographs  of  the  various  Chau- 
tauquas,  north,  south,  east  and  west.  A 
fine  collection,  showing  the  founders  of 
these  schools  to  he  well  up  in  natural 
scenery  and  in  photography. 

In  the  French  Educational  Department 
we  find  some  very  excellent  photographs  of 
groups  made  inside  the  school-house.     These 


286 


THE    PHILADELPHIA    PHOTOGEAPHER 


are  real  pictures,  and  give  evidence  of  the 
fact  that  the  photographers  have  given 
much  more  attention  to  the  pictorial  effect 
in  these  illustrations  than  we  see  in  our 
American  pictures.  For  example,  in  a 
singing  room  of  one  of  these  schools  the 
professor  is  at  the  piano,  the  professor  of 
singing  stands  with  hands  and  baton  high 
in  air ;  the  scholars  with  mouths  open,  music 
in  hand,  stand,  with  a  single  exception  of 
one  poor  little  bird  who  won't  sing,  and 
who  has  been  placed  in  the  dunce's  place 
at  the  master's  desk.  Another  view  of  the 
artistic  department  shows  the  young  pupils 
at  work,  carefully  cutting,  designing,  sew- 
ing, and  what-not,  groupings  most  artistic, 
the  whole  balanced  by  a  young  fellow  in 
long  gown,  who  is  sweeping  up  shavings  in 
the  foreground.  A  similar  group  is  found 
in  the  drawing  school,  and  others  upon  the 
campus,  allof  excellent  quality.  Mr.  Pierre 
Petit,  of  Paris,  makes  an  exhibit  here  of  his 
illustrated  window  blinds  for  schools,  which 
are  simply  photographs  upon  linen,  repre- 
senting various  scenes  in  history.  A  splen- 
did idea,  and  a  good  outlet  for  photography. 
Fiorillo,  photographer  of  Paris,  has  a  fine 
collection  of  photographs  of  the  military 
schools  and  Kindergartens  of  Paris.  A 
very  fine  collection  of  photographs  repre- 
senting the  infant  schools  and  art  schools 
of  Pans,  together  with  those  of  the  schools 
of  design  and  modelling,  are  also  shown  in 
the  French  Educational  Department.  The 
series  is  a  large  one  and  beyond  all  descrip- 
tion. Groups  of  the  machine  department 
of  one  of  the  scientific  schools  are  particu- 
larly interesting  and  fine.  Indeed,  the 
whole  French  Educational  Department  is 
ahead  of  anything  else  that  has  ever  been 
shown  in  America. 

The  City  of  Bath,  England,  has,  in  the 
northeast  gallery  of  the  building,  models  of 
the  ancient  baths  found  in  that  city,  and 
here  are  hundreds  of  photographs  illustrat- 
ing the  scenery  about  the  town,  its  churches, 
cathedrals,  its  ruined  baths,  and  other  ob- 
jects of  interest,  old  and  new. 

The  Century  magazine  collection  contains 
a  number  of  photographs  of  some  beautiful 
things  that  have  appeared  in  the  Century 
from  time  to  time  by  various  photographers. 

In  the  Pennsylvania  Woman's   Depart- 


ment we  find  a  series  of  photographs  taken 
by  an  amateur  club  of  Philadelphia,  com- 
posed only  of  ladies.  They  are  really  very 
pretty  little  bits.  We  hope  the  time  will 
come  when  the  ladies  will  not  hide  from  us 
their  names.  A  group  of  little  freedmen  is 
quite  interesting  and  excellent. 

The  National  Temperance  Society  makes 
use  of  photography  to  show  us  the  faces  of 
some  of  its  best  orators  and  advocates,  in- 
cluding one  of  the  recent  Presidential 
nominees  Governor  St.  John. 

And  now,  as  we  depart  from  the  Govern- 
ment Building,  at  the  head  of  the  descend- 
ing stairway,  we  come  to  a  splendid  20  x  24 
photograph  of  the  He-No  Tea  Hong,  made 
by  the  Centennial  Photographic  Company, 
made  with  a  Suter  lens,  No.  8  B.  Ameri- 
can Optical  Company's  camera  box,  and  on 
an  Inglis  plate.  A  very  excellent  photo- 
graph of  a  picturesque  structure  made 
familiar  to  many  of  our  readers  by  the  re- 
cent photograph  of  the  same  subject  in  the 
St.  Louis  Practical  Photographer. 

Next  month  we  hope  to  give  some  com- 
ments on  the  exhibit  of  photography  at  the 
late  great  "World's  Fair. 

THE  BUFFALO  EXHIBITION. 

Review  of  the  Pictures  and 
Apparatus  Shown. 

BY  EDWARD  L.  WILSON. 

The  making  of  a  correct  list  of  the  photo- 
graphic exhibits  was  attended  with  extreme 
difficulty.  No  preconceived  arrangement 
was  followed,  inasmuch  as  portraits  and 
views  were  exhibited  both  by  photographers 
and  by  manufacturers  of  plates,  and  inter- 
spersed without  any  regularity  or  system. 
We  therefore  begin  our  report  with  the  de- 
partment which  was  devoted  to  the  photo- 
graphic, exhibits  from  abroad. 

In  the  corner  of  the  hall  we  find  a  beau- 
tiful series  of  life-sized  heads,  panels,  and 
cabinets,  from  Friederich  Mueller,  of  Mu- 
nich, Bavaria.  The  work  is  simply  exqui- 
site. The  subjects  range  from  the  line  of 
actors,  acrobats,  street  musicians,  and  the 
clergy,  to  pretty  infantile  groups,  all  equal 
in  character,  and  certainly  showing  a  wide 
range  of  conception  and  artistic  to  a  degree. 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


287 


Mr.  Mueller  is  an  artist  of  the  first  German 
water,  and  we  all  know  what  that  means. 
His  character  portraits  certainly  show  him 
to  be  able  to  bring  out  the  most  picturesque 
elements  of  character  in  his  subjects,  and 
there  is  something  about  the  German  sub- 
ject, too,  that  seems  to  be  in  such  sympathy 
with  the  artist  that  it  must  be  a  delight  to 
make  their  pictures. 

Next  is  a  similar  series  by  W.  H.  Hoffert, 
who  seems  to  have  studios  in  Dresden,  Leip- 
sic,  Hanover,  and  Berlin.  We  might  look 
for  a  larger  exhibit  from  such  a  number  of 
houses,  but  we  are  much  gratified  and  edi- 
fied with  what  there  is. 

The  gem  of  the  collection  is  a  trio  of  sol- 
diers seated  at  their  tent,  around  which  are 
arranged  spear,  sword,  and  cannon  ball  as 
accessories,  a  capital  example  of  triangular 
composition.  The  soldiers  seem  to  be  think- 
ing of  some  matter,  as  in  their  laps  is  a  map, 
although  the  faces  do  not  show  that  they 
are  studying  the  campaign  ;  their  heads  do 
not  convey  such  an  idea,  because  they  are 
not  composed  in  harmony  with  such  a  con- 
ception. The  picture  of  a  little  girl  on  a 
swing  is  very  superior. 

Close  to  this  hang  a  number  of  pictures 
by  that  king  of  composition,  H.  P.  Robin- 
son,  Esq.,  of  Tunbridge  Wells,  England. 
Among  them  is  Mr.  Robinson's  last  pro- 
duction called  "Hope  Deferred."  The  de- 
scription of  this  is  found  in  the  Editor's 
Table,  and  we  will  not  repeat  it  now.  We 
look  upon  Mr.  Robinson  as  our  most  en- 
thusiastic artist  in  this  direction. 

We  come  next  to  a  collection  of  German 
photographs  by  various  photographers. 
First  a  series  of  carbon  prints  by  Grutzmer, 
of  Ernnkfort-on-the-Main.  They  give  evi- 
dence of  an  artist  mind  in  composition.  One 
group  might  be  termed  "Buying  a  Eish;" 
it  represents  a  twain  of  portly  priests  dis- 
cussing the  subject  of  a  purchase  from  the 
fish  market.  The  scene  is  a  most  character- 
istic one,  and  natural  in  every  respect  as  a 
work  of  art.  The  other  is  that  of  a  trio  of 
priests  touching  their  beer  mugs  together 
with  an  animated  expression  of  anticipation 
of  the  pleasure  which  is  sure  to  come  upon 
one  quaffing  the  contents  of  the  contemplated 
festive  bowl.  The  humble  repast  of  garlic 
and  bloater  paste  with  a  piece  of  cheese  and 


rye  bread  lying  upon  the  table  help  to  catch 
the  light  with  other  beautiful  parts  of  the 
picture,  as  well  as  to  promise  future  matter 
for  the  digestion  of  the  jolly  trio.  Schmidt, 
of  Erankfort,  exhibits  a  small  variety  of 
cabinets  and  other  pictures  which  are  very 
meritorious.  A  child  group  of  a  young 
artist  painting  a  picture  of  his  little  sister 
who  is  posed  very  sweetly  is  exquisite  and 
full  of  humor  and  feeling. 

High  above  all  hung  six  life-sized  heads 
of  gentlemen  and  ladies  that  came  from 
Eritz  Eilender,  of  Cologne,  Germany.  They 
are  simple  and  natural,  in  treatment,  and 
yet  every  one  is  a  conception,  a  gem,  a 
likeness,  a  work  of  art. 

The  group  of  Tyroler  Bauerukiermis  is  a 
magnificent  production.  The  peasantry  are 
assembled  on  one  of  those  picnics  for  which 
the  Tyrolese  Alps  are  so  celebrated,  ranged 
in  groups  which  follow  the  most  exact 
ruling  of  composition,  full  of  life,  spirit, 
joy,  and  animation.  Some  of  the  parties 
are  dancing;  some  are  looking  on;  some 
are  seated  in  conversation;  and  a  group  at 
the  window  of  the  Chalet  in  the  background 
is  no  doubt  discussing  something  more 
serious. 

Benque  &  Kinderman,  of  Hamburg,  Ger- 
many, exhibit  five  pictures  from  14  x  17 
plates,  which  are  not  remarkable  for  their 
excellence,  though  fairly  good.  The  gem 
of  the  colledtion  is  a  little  Alpine  Climber, 
staff  in  hand,  which  is  very  spiritedly  posed, 
with  rocky  accessories. 

Ten  very  fine  portraits  on  11  x  14  plates 
of  noted  characters  come  next,  but  unfortu- 
nately they  are  without  name.  If  we  can 
supply  this  deficiency  hereafter,  we  will  do 
so.  They  are  very  fine  examples  of  ordinary 
portraiture,  splendidly  lighted  artistic  pieces, 
and  in  every  way  well  managed,  and  are 
lovely  prints. 

Some  beautiful  examples  of  landscape 
work  come  next,  made  by  Theodore  Crie- 
felds,  of  Cologne,  Germany ;  a  twain  of  pic- 
tures of  Cologne  Cathedral,  exterior  and 
interior,  are  magnificent,  and  exceed  any- 
thing of  the  kind  in  the  Exposition.  In- 
cluded in  this  space  we  must  not  fail  to 
mention  a  view  of  Cologne,  probably  from 
the  other  side  of  the  Rhine.  There  we  see 
the  majesty  of  the  Cathedral  and  of  scenes 


288 


THE    PHILADELPHIA    PHOTOGRAPHEE. 


of  a  past  age  also  in  the  fine  pictures  of  ruins. 
Bridges  and  railway  scenery  make  up  the  rest 
of  the  series,  and  are  magnificent  in  every 
respect.  Edy  Brothers,  London,  Ontario, 
complete  the  line  of  foreign  pictures  by  their 
exhibit  of  twenty  examples  of  their  work, 
mostly  from  negatives  13  x  16.  They  are 
very  fine  examples  of  portraiture,  well  man- 
aged, and  up  to  the  times.  The  most  pre- 
tentious picture  of  the  lot  is  a  little  miss  in 
her  baby  carriage,  taking  her  baby  to  ride. 
Both  in  the  management  of  the  subject  and 
in  the  accessories  this  photograph  is  well 
worthy  of  being  called  a  picture  which 
would  help  any  photographer  to  understand 
art  better.  It  will  be  good  exercise  occa- 
sionally to  make  a  bit  like  this. 

Opposite  the  foreign  collection  hung  the 
remarkable  display  of  Mr.  J.  H.  Kent,  of 
Bochester,  N.  T.  This  collection  might  be 
classed  as  the  greatest  novelty  of  the  Expo- 
sition, since  all  the  negatives,  instead  of 
being  upon  glass  dry  plates,  as  they  are  gen- 
erally understood,  arc  made  upon  the  new 
Eastman  paper,  and  are  the  first  of  their  kind 
that  have  been  exhibited.  The  collection  in- 
cludes about  sixty  pictures,  ranging  in  size 
from  17  x  40  to  8  x  10.  A  number  of  them 
are  life-size  heads ;  they  are  full  of  vigor;  are 
fully  equal  to  Kent's  best  work,  with  which 
our  readers  are  so  familiar.  The  lighting  is 
in  Mr.  Kent's  most  approved  style,  and  the 
prints  which  result  from  these  paper  nega- 
tives seem  to  leave  nothing  whatever  to  be 
desired.  They  have  not  been  made  either 
for  the  purpose  by  any  peculiar  style,  but  to 
show  off  the  advantages  of  the  negative 
paper.  Here  are  pictures  with  accessories, 
pictures  with  plain  backgrounds,  pictures 
Avith  clouds,  pictures  with  worked-in  back- 
grounds, pictures  with  shaded  backgrounds, 
and  in  every  way  fair  opportunity  is  given 
to  the  observer  and  the  studious  photog- 
rapher to  understand  the  merit  of  this  new 
candidate  for  photographic  favor.  Magnifi- 
cent as  a  class  they  are,  and  yet  some  other 
word  seems  to  be  needed  to  present  them  as 
they  should  be.  The  greatest  advantages 
are  found  in  the  use  of  the  negative  paper, 
which  we  understand  is  ready  for  the 
market. 

On  the  other  side  of  the  screen  we  find 
the  exhibit  of  Passmussun,  of  Bock  Island, 


111.,  taking  a  prominent  place.  The  collec- 
tion is  all  of  portraits,  and  embodies  a  va- 
riety of  groups  of  child  pictures,  character 
compositions,  and  plain  portraiture. 

IMcCrary  and  Fransom,  of  Knoxville, 
Tenn.,  are  here,  with  a  fine  display  of  beau- 
tiful pictures,  and  a  fine  "baby  show"  it  is. 
Three  frames  are  not  able  to  contain  all  the 
children  which  the  loving  photographers 
wish  to  show,  and  therefore  they  have  sur- 
rounded their  frames  with  an  outside  collec- 
tion. They  are  excellent,  so  far  as  baby 
pictures  can  be  excellent. 

David  Scannell,  of  Philadelphia,  exhibits 
a  dozen  enlargements  on  opal  glass,  painted 
in  oil.  They  are  colored  in  Mr.  Scannell's 
best  style. 

On  the  opposite  screen  is  the  very  modest 
collection  of  Mr.  James  Landy,  the  Presi- 
dent of  the  P.  A.  of  A.,  and  it  is  by  no  means 
a  meagre  or  mean  exhibit,  because  here  we 
have  many  evidences  of  Mr.  Landy's  true 
nobility  and  greatness  as  an  artist.  His 
plain  portraiture,  as  we  understand  it,  is  un- 
excelled by  any.  And,  what  is  very  appro- 
priate, in  the  centre  of  the  lower  line  of  a 
frame  is  a  splendid  view  of  the  interior  of 
his  skylight,  showing  the  tools  which  pro- 
duce these  splendid  pictures  and  the  space 
wherein  they  were  produced.  Mr.  Landy's 
child  pictures  and  family  groups  are  par- 
ticularly fascinating.  The  more  ambitious 
pictures  of  his  collection  are  three  compo- 
sition groups,  two  representing  scenes  in  the 
history  of  the  Christian  martyrs. 

"Walter  C.  North,  of  Utica,  1ST.  Y.,  s  well- 
known  veteran  in  our  art,  follows  with  his 
display  of  "baby  pictures."  The  only  ex- 
ception we  see  to  the  rule  is  an  amiable  pug 
dog  and  a  basket  of  full-grown  kittens, 
whose  ages  we  are  not  quite  able  to  judge. 
But  we  are  able  to  see  Mr.  North  still  hold- 
ing his  spirit,  and  not  declining  to  exhibit, 
as  many  of  our  veterans  did. 

Mudge  &  Mudge,  of  Elkhardt,  Indiana, 
exhibit  a  small  collection  of  portraits  and 
some  pictures  which  are  more  ambitious. 
One  of  their  best  compositions  is  probably 
one  called  "Bachelors'  Hall."  The  poor 
fellow  is  endeavoring  to  thread  a  needle 
with  one  eye  open  and  the  other  on  the 
needle.  We  are  very  glad  to  see  a  growing 
disposition  to  try  character  pictures,  for  the 


THE    PHILADELPHIA    PHOTOGEAPEEE. 


289 


exercise  is  good,  and  the  results  generally 
pay. 

F.  W.  Guerin,  of  St.  Louis,  Mo.,  exhibits 
not  what  we  were  all  made  familiar  with 
last  year,  as  so  many  predicted,  but  has 
given  us  an  entire  new  collection  of  pic- 
tures, hung  here  without  frames,  giving  us 
evidence  of  his  continued  growth  as  an 
artist. 

The  gem  of  the  collection  we  consider  a 
little  Italian  music  girl,  reposing  on  her 
arm,  with  a  tender  pathetic  feeling  expressed 
in  her  face.     A  grand  conception. 

A  life-size  portrait  of  Mrs.  Fitzgibbon 
Clark  graces  this  collection,  and  we  notice 
also  another  one  of  Mr.  H.  A.  Hyatt;  also 
a  group  of  the  Chicago  Base  Ball  Club; 
rather  mechanical  in  composition,  but  still 
worthy  of  mention. 

Mr.  J.  C.  Patrick,  of  Batavia,  1ST.  Y., 
who  was  one  of  the  operators  at  the  World's 
Exposition,  exhibits  two  frames  of  views  of 
New  Orleans  and  vicinity,  made  after  his 
engagement  there,  which  are  printed  in  very 
creditable  style.  They  include  the  usual 
street  scenes,  levees,  views  of  buildings  and 
cemeteries,  made  on  plates  5x8  and  8x10. 
Following  these  is  a  large  white  background, 
which  reads  "Genelli,  the  original  inventor 
of  stamp  photos,  St.  Louis."  This  is  a  large 
exhibit  of  stamp  portraits  of  the  usual  small 
size,  and  of  the  new  size  introduced  by 
this  gentleman,  which  measures  one  and  a 
quarter  by  two  and  three-quarters  inches. 
This  style  of  picture  has  its  attraction  to 
many  and  its  uses.  Everybody  has  an  op- 
portunity of  making  "a  deal"  for  this  pic- 
ture if  they  wish. 

On  the  opposite  screen  on  the  right-hand 
side  is  a  fine  collection  of  portraits  by  W. 
H.  Potter,  of  Indianapolis.  Mr.  Potter  has 
made  rapid  strides  in  photography  since  we 
last  saw  his  work  exhibited.  Here  we  find 
about  two  hundred  pictures,  varying  in  size 
from  cabinet  to  full  size  heads,  which  are 
well  worthy  being  placed  with  our  first-class 
work.  There  is  quality  and  individuality 
about  the  pictures  which  is  Mr.  Potter's 
own,  and  shows  that  he  is  not  only  am- 
bitious, but  fully  able  to  do  artistic  work. 
The  technical  qualities  of  this  work  are 
fully  up  to  the  times,  and  with  due  frank- 
ness we  say  that  it  is  largely  because  they 


are  all  made  from  negatives  on  the  St.  Louis 
dry  plates. 

Next  to  this  is  a  collection  mostly  of  large- 
sized  heads,  by  D.  K.  Clark,  of  Indianapolis, 
Ind.,  made  upon  the  same  plates.  A  very 
excellent  plan  adopted  by  the  St.  Louis  Dry 
Plate  Company  is  that  of  exhibiting  the 
negatives  from  which  these  prints  were 
made.  They  are  very  carefully  placed  in 
frames,  and  bear  the  closest  expert  examina- 
tion. It  seems  that  nothing  could  be  better 
in  photographs  than  these  negatives  are. 

In  the  St.  Louis  Dry  Plate  Company's 
collection  is  a  life-sized  head  of  Mrs.  Fitz- 
gibbon  Clark,  by  Strauss  Brothers. 

On  the  other  side  of  this  screen  is  another 
series  of  stamp  portraits  of  Kuhn  Brothers, 
of  St.  Louis,  who  claim  to  be  the  original 
producers  of  stamp  portrait  work.  Their 
collection  is  a  very  pretty  one  of  its  kind. 

F.  M.  Mackey,  of  Cambridge,  Ohio,  dis- 
plays a  collection  of  cabinets  and  8  x  10  pic- 
tures and  portraits.  A  very  fine  solar  en- 
largement of  Mrs.  Fitzgibbon  Clark,  on 
Gilbert's  rapid  albumen  paper,  is  also  a  great 
attraction  here. 

Three  frames  of  examples  of  the  work  of 
the  Pnotogravure  Company,  New  York, 
including  photo-caustic  prints,  photo- 
gravures and  gelatine  prints  in  various 
colors,  form  a  very  interesting  and  pretty 
series,  showing  great  progress  in  their  va- 
rious directions. 

Winter,  of  Syracuse,  N.  Y.,  makes  a  pre- 
tentious display  of  work  done  with  the  Suter 
lens,  sold  by  Allen  Brothers.  The  gem  of 
the  collection  represents  a  young  lady  in 
Turkish  costume,  with  her  smoke  pipe  and 
rich  rugs  as  accessories.  The  lens  work  is 
simply  exquisite,  rivalled  only  by  the  next 
door  picture,  which  may  be  termed  fishy — 
a  group  of  children  on  the  seashore,  prettily 
posed  and  admirably  photographed  as  fish- 
ing. Some  of  the  life-size  heads  also  show 
capital  lens  work. 

Theodore  P.  Schurr,  of  Lockport,  N.  Y., 
exhibits  a  sample  frame  of  pictures  that 
were  shown  at  the  New  Orleans  Exposition, 
together  with  some  others  of  larger  size. 
The  child  pictures  are  remarkably  fine.  In 
addition  to  those  are  some  other  portraits 
by  the  same  gentleman  of  a  pair  represent- 


290 


THE    PHILADELPHIA    PHOTOGRAPHER. 


ing  smoking  and  its  effects,  which  are  very 
well  done. 

Palethorpe,  of  Greenville,  Mich.,  displays 
a  collection  on  the  same  screen.  His  work 
is  carefully  done,  and  represents  quite  a  va- 
riety of  subjects. 

F.  Jay  Haynes,  of  Fargo,  Dakota  Terri- 
tory, displays  a  fine  collection  of  magnifi- 
cent pictures  on  20  x  24  plates,  made  on  Car- 
hut  special  plates,  of  cascades,  spouting 
springs,  river  views,  and  scenery  of  the 
Yellowstone,  all  beautiful  and  quite  ad- 
mirably rendered.  Mr.  Carbutt's  plates  are 
also  represented  by  the  collection  of  Mr.  J. 
Mitchell  Elliot,  a  young  amateur  photog- 
rapher of  considerable  talent  who  resides  in 
Philadelphia.  A  view  of  one  of  Mr.  Car- 
butt's  factories  is  a  fine  bit  of  outdoor  work ; 
nothing  could  scarcely  be  better.  The  same 
may  be  said  of  all  Mr.  Elliot's  work,  which 
is  technically  "  first  class." 

Frank  Eobbins,  of  Oil  City  and  Bradford, 
Pa.,  exhibits  a  collection  of  portraits  of  va- 
rious kinds  made  on  his  own  plates.  The 
work  is  the  best  we  have  seen  by  Mr.  Eobbins. 
Messrs.  Winsor  and  Whipple,  Olean,  1ST.  Y. ; 
J.  0.  Jackson,  Franklin,  Pa.;  J.  W.  Sives, 
Oil  City,  Pa.,  also  show  work  on  the  same 
plate,  all  of  which  speak  well  for  the  quality 
of  them.  Johnson  &  Brothers,  Watertown, 
N.  Y.,  make  a  small  and  very  beautiful  dis- 
play of  portraits,  many  of  them  of  ladies 
and  children,  and  the  rendering  of  the  white 
dresses  and  draperies  is  particularly  fine. 

Jules  Hoffmeister,  of  St.  Louis,  Mo.,  ex- 
hibits examples  of  his  negative  retouch- 
ing. 

Frank  Bobbins,  of  Oil  City,  Pa.,  makes 
a  negative  and  transparency  display  pro- 
duced on  his  own  plates,  which  is  always 
surrounded  by  a  crowd  of  examiners. 

Mr.  W.  J.  Baker,  of  Buffalo,  1ST.  Y., 
comes  to  the  front  with  an  admirable  collec- 
tion of  portraits  of  any  size,  from  the  life- 
size  pictures  to  the  smaller  size,  and  in  a 
variety  of  subjects,  from  the  President  of 
the  United  States  to  a  pretty  waiting-maid. 
There  is  an  individuality  about  Mr.  Baker's 
work  which  has  pervaded  it  ever  since  we 
were  acquainted  with  it,  and  which  is  more 
than  ever  apparent  here.  He  is  an  artist  in 
lighting  and  posing.  In  his  picture  of  the 
"Old  Priest  and  Schoolmaster,"  if  there  is 


not  "conception,"  after  the  strictest  inter- 
pretation of  Monsignor  Capel,  then  we  give 
up  all  idea  of  art  and  begin  the  study  again. 

Mr.  Davis,  of  Kochester,  N.  Y.,  exhibits 
a  frame  of  character  portraits  of  Edmund  J. 
Burke,  the  comedian,  which  are  of  excel- 
lent quality. 

A.  C.  Taylor,  of  Clinton,  "Wis.,  makes  a 
novel  exhibit  of  one  frame  of  portraits 
mounted  in  various  forms  supplied  with 
such  work  as  only  comes  from  his  establish- 
ment. All  these  pictures  are  made  on  the 
Munroe  dry  plates.  Mr.  Baker's  pictures 
are  on  the  Cramer  dry  plate. 

Mr.  Irving  Saunders,  of  Alfred  Centre, 
1ST.  Y.,  one  of  our  thoroughgoing  photog- 
raphers, makes  a  very  pretty  exhibit,  indeed, 
of  his  portraiture,  showing  good  progress 
since  we  last  saw  his  work.  The  gem  of 
the  collection  we  think  has  been  rightly 
placed  in  the  centre  of  the  lower  line — a 
child  asleep.  It  is  an  admirable  work.  It 
has  been  beautifully  managed  in  every  way. 
All  through  the  collection  Mr.  Saunders' 
patience  with  children  is  evidenced,  and  his 
results  are  fine.  We  are  glad  to  see  another 
novelty  in  our  line  represented  by  the  per- 
manent carbon  enlargements  of  Mr.  W.  W. 
Sherman,  of  Milwaukee,  Wis.  There  is  a 
quality  about  these  pictures  that  we  very 
much  like,  as  we  expressed  ourselves  when 
we  first  saw  them  at  Milwaukee.  Mr.  Sher- 
man has  very  much  simplified  and  improved 
his  method  of  production  since  then,  and 
has  patented  his  process  in  order  that  those 
who  adopt  it  may  be  protected  in  its  use. 
By  his  method  he  guarantees  perfect  keep- 
ing qualities,  and  he  secures  at  the  same 
time  a  certain  snap  in  his  results  not  obtain- 
able by  the  other  processes.  He  will  have 
a  big  success. 

Messrs.  Moreno  and  Lopez,  of  New  York, 
exhibit  a  fine  collection  of  life-size  pictures 
upon  the  Ing  lis  plate,  which  are  simply  all 
that  one  could  wish  in  such  pictures  ;  they 
are  marvellous.  The  charm  of  the  collec- 
tion is  one  or  the  other  of  two  pictures  of 
W.  Irving  Adams,  Esq  ,  the  well-known 
and  popular  agent  of  the  Scovill  Manufac- 
turing Company,  but  the  most  beautiful  ex- 
amples of  the  collection  are  of  some  ladies' 
heads.  Nothing  can  be  wanted  in  the  pose, 
lighting,  and  general  management,  all  un- 


THE  PHILADELPHIA  PHOTOGKAPHEB. 


291 


equalled  by  anything  of  their  class.  They 
are  all  on  Inglis  plates. 

Mr.  Inglis  himself  exhibits  a  collection 
of  bicycle  riders  and  other  instantaneous 
pictures,  which  are  simply  marvellous  ;  the 
marvel  being  that  such  excellence  can  be 
secured  in  such  a  short  time,  which  is  not 
always  the  case  with  "drop"  views.  He 
also  exhibits  some  enlargements  from  the 
same  negatives,  made  by  Thomas  H.  Mc- 
Collin,  of  Philadelphia,  platinum  prints. 

Wardlaw  &  Learned,  of  16  State  St., 
Eochester,  N.  Y.,  exhibit  a  double  collec- 
tion of  pictures ;  one  consisting  of  two 
frames  of  portraits,  mainly  and  largely  of 
children.  If  these  pictures  do  not  display 
any  peculiar  individuality,  certainly  they 
display  a  great  talent  in  the  catching  of  the 
shadows  of  the  little  ones.  They  are  simply 
life-like  and  admirable.  The  other  collec- 
tion consists  of  twenty-two  pictures,  18  x  20, 
which  are  printed  on  Hovey's  special  paper. 
The  photography  is  good,  and  the  prints 
are  good. 

The  picture  of  the  Old  Mill  and  Stream, 
with  a  broken-down  wheel  on  the  left,  ex- 
quisite lights  and  foliage  surrounding  it,  is 
a  very  pretty  thing,  and  looks  like  a  view 
of  Old  England. 

Nier  &  Wepplin,  of  Eochester,  N.  Y., 
exhibit  a  life-size  head  Avorked  in  crayon. 

D.  J.  Smith,  of  Detroit,  Mich.  (Mr.  L.  G. 
Bigelow,  operator),  exhibits  some  very  ex- 
cellent pictures  made  upon  the  Stanley 
plate.  Some  of  these  pictures  are  quite  pre- 
tentious in  style  and  composition,  and  are 
well  worthy  of  considerable  study.  One  of 
these,  "The  Old  Carpenter,"  compass  in 
hand,  is  fine,  but  it  is  eclipsed  by  another 
one  of  a  pretty  girl  with  Oriental  eyes, 
called  "  Dolce  Far  Niente  "  (Sweet  Idleness). 

Mr.  G.  Cramer,  of  St.  Louis,  exhibits  a 
large  series  of  views  of  the  New  Orleans 
Exposition,  made  upon  his  plates  by  the 
Centennial  Photographic  Company,  Edward 
L.  "Wilson,  proprietor.  One  of  these  of  the 
Brazilian  exhibit  of  coffee  contains  about 
four  hundred  jars  of  green  coffee,  and  so 
exquisite  is  the  rendering  of  the  image  upon 
this  creamy  Cramer  film  that  we  believe 
every  grain  of  coffee  can  be  counted,  and 
the  rugosities  of  each  particular  grain  ex- 
terior can  plainly  be  seen.     The  collection 


embodies  every  size,  from  a  5  x  8  to  a  20  x  24. 
The  lenses  used  were  both  Suter  and  Mor- 
rison, wide  angle,  with  various  results,  ac- 
cording to  the  subject.  Mr.  Cramer  has 
secured  another  collection  from  negatives 
made  on  his  own  plates,  the  work  of  the 
studio  of  Gerhig,  of  Chicago,  111.  The 
sizes  vary  from  cabinet  to  full-size.  The 
results  are  simply  exquisite.  We  do  not 
see  how  anything  could  be  much  softer  or 
more  delicate  or  more  beautifully  created  in 
light  and  shade  than  the  picture  of  an  old 
gentleman.  We  have  here,  also,  other  pic- 
tures, which  are  superb  examples  of  pho- 
tography. Such  work  is  very  rarely  ex- 
celled. 

Mr.  Cramer's  individual  display  is  not 
surpassed  by  anything  else  that  we  see  here 
on  his  plates.  Twenty-four  magnificent 
pictures  hang  here  on  one  side  of  the  screen 
with  the  name  of  the  good-hearted  dry-plate 
manufacturer  in  gold  letters  overhead,  va- 
rious in  style,  wonderful  in  conception. 
We  miss  the  title  of  a  good  many  of  his 
composition  pictures,  which  are  subjects 
well  secured  and  rendered  according  to  the 
Capel  interpretation.  "  Home  Secrets," 
"The  Tease,"  "The  Baby  School,"  and 
"Home  Duties,"  are  such  pictures  as  will 
appeal  to  the  pathetic  in  everybody's  nature 
who  is  interested  in  anything  about  home; 
they  tell  of  the  nursery,  of  the  playground, 
of  the  kitchen,  and  of  the  grandmother's 
quarters,  most  vividly  and  naturally.  We 
all  know  that  Mr.  Cramer's  work  as  a  rule 
is  magnificent.  And  even  now  we  have 
only  mentioned  half  of  it,  for  on  the  oppo- 
site screen  we  find  twenty-four  more  pic- 
tures, all  of  which  are  worthy  of  all  the 
praise  we  can  give  them.  The  groups  en- 
titled "The  Beggar"  and  "Two  Little 
Negro  Boys,"  bootblacks  by  trade,  early 
learning  the  evils  of  the  wicked  city  of  St. 
Louis,  are  fine.  All  that  is  needed  to  give 
full  animus  and  force  to  the  last  picture  is 
a  companion  one,  which  would  represent 
an  approaching  policeman  and  the  scatter- 
ing of  the  aforesaid  boys  with  their  pack  of 
cards.  The  picture  "At  the  Spring"  is  a 
pretty  little  composition,  and  "Majority 
Eules  "  is  another  pretentious  picture,  which 
attracts  a  great  deal  of  attention — three  boys 
on  one  end  of  a  see-saw,  and  only  one  boy 


292 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


on  the  other  end.  Another  beautiful  look- 
ing group  we  must  not  forget  to  mention  is 
that  of  Mr.  Cramer  himself,  seated  in  his 
own  parlor  with  his  wife,  and  three  hoys,  a 
group  of  his  family — a  domestic  scene.  Mr. 
Cramer  is  reading  some  favorable  criticisms 
of  his  plates  in  the  last  issue  of  the  Phila- 
delphia Photographer,  and  seems  well 
pleased.  Due  regard  and  attention  is  being 
given  by  the  other  members  of  the  family, 
and  that  is  right.  Between  these  two  sec- 
tions of  Mr.  Cramer's  exhibit  are  five  20  x  24 
negatives  displayed,  made  upon  his  plates. 
These  should  be  seen  to  be  appreciated. 
We  know  of  nothing  superior,  for  they  are 
the  perfection  of  photography  so  far  as  it 
goes  to-day. 

Certainly  the  most  startling  exhibit  in 
the  whole  exhibition  is  that  of  Mr.  George 
Barker,  of  Niagara  Palls,  N.  Y.  Mr. 
Barker  covers  one  whole  side  of  a  screen 
with  his  lovely  pictures,  mainly  of  Niagara, 
with  a  few  views  of  picturesque  Buffalo  and 
other  localities.  It  seems  as  though  during 
the  days  of  his  life  Niagara,  with  all  its 
changing  qualities,  could  have  assumed  no 
aspect  or  position  that  has  not  been  caught 
by  the  industrious  camera  of  Mr.  Barker. 
The  rapids,  the  cascades,  the  whirlpool,  the 
trees,  the  ice  bridges,  the  nervous,  fathom- 
less river,  the  ragged  rocks,  all  have  been 
caught  in  various  lights,  and  are  here  spread 
before  us  in  most  astonishing  array.  The 
novelty  of  this  exhibit  is  the  collection  of 
pictures  of  all  the  varieties  that  have  been 
described  from  17  x  20  plates.  They  abso- 
lutely take  our  breath  away,  the  more  so 
because  we  have  but  recently  visited  Ni- 
agara, and  once  more  have  been  privileged 
to  see  it  in  all  its  glorious  beauty  and  mag- 
nificence ;  so  these  pictures  can  make  us 
sigh  as  we  look  at  them,  and  feel  as  we 
always  do  when  we  make  our  departure 
from  there.  They  are  the  most  beautiful  of 
all  the  natural  pictures  in  the  world.  We 
observe  "  Cramer's  Plates  "  on  a  card  under- 
neath ;  also  that  Eastman's  Special  Plates 
were  very  often  used  to  get  these  grand 
effects. 

One  of  the  pictures  of  the  Whirlpool 
Kapids  in  this  collection  is  simply  water 
itself,  and,  if  taken  upon  a  dry  plate,  it  cer- 
tainly is  a  very  wet  looking   print.     Mr. 


Barker's  ingenious  method  of  inserting 
clouds  is  quite  original,  sometimes  quite  well 
worthy  of  notice.  On  the  opposite  screen 
hangs  the  smaller  but  similar  collection  of 
H.  F.  Neilson  &  Co.,  of  Niagara  Falls. 
These  gentlemen  are  new  candidates  for 
public  favor,  we  believe,  and  certainly  show 
themselves  to  be  most  enterprising  photog- 
raphers. We  do  not  purpose  in  the  least  to 
act  as  a  critic  in  our  review  of  this  collec- 
tion, but  merely  to  give,  as  near  as  we  can, 
a  complete  list  of  the  exhibits  for  the  infor- 
mation of  those  who  could  not  come,  and, 
if  possible,  to  attract  them  to  come  another 
year.  But  in  a  country  where  clouds  are 
so  plenty  as  they  are  at  Niagara,  it  does 
seem  that  it  would  be  possible  to  secure 
more  indications  of  them,  and  not  exhibit 
at  least  twelve  pictures  whose  clouds  are  all 
the  same,  though  the  subjects  are  entirely 
different.  While  we  deplore  such  a  course 
as  this,  we  cannot  but  congratulate  the 
genius  of  the  photographer  who  could  secure 
such  indications,  and  who  could  with  ap- 
propriate taste  refrain  sometimes  from  print- 
ing his  favorite  cloud  negatives  in  the  won- 
derful views  where  clouds  would  have 
destroyed  the  harmony  of  the  whole  grand 
picture. 

Mr.  E.  L.  Fowler,  of  Chicago,  exhibits 
from  several  frames,  examples  of  his  nega- 
tive retouching,  and  solicits  patronage. 

Mr.  Kenney,  of  Hackettstown,  N  J.,  ex- 
hibits two  frames  of  very  excellent  outdoor 
grouping  made  with  the  E.  A.  lens. 

C.  G.  Geleng,  of  Toronto,  Ont.,  exhibits 
specimens  of  his  enamelled  photographs, 
which  are  very  smoothly  done.  The  most 
of  them  are  cameoed. 

From  Mr.  J.  F.  Ryder,  the  veteran  photog- 
rapher, artist,  and  conceptionist,  of  Cleve- 
land, Ohio,  we  always  expect  a  fine  exhibit 
at  our  annual  exhibition,  but  this  year  Mr. 
Byder  has  overdone  Ryder.  When  we  say 
this,  we  are  not  influenced  at  all  by  the 
glitter  of  the  magnificent  frames,  such  as 
have  never  before  been  seen  in  the  Exposi- 
tion, but  we  are  impressed  with  the  difficult 
work  which  he  displays,  which  includes  a 
variety  of  portraits,  mainly  of  the  larger 
sizes,  ranging,  say  from  8  x  12  to  a  life-size. 
They  are  simply  exquisite.  No  attempt 
here  is  made  at  genre  or  composition  pic- 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


293 


tures,  but  usual  subjects  are  treated  accord- 
ing to  the  rules  of  photographic  art,  and  in 
each  case  the  artist  seems  to  have  endeavored 
to  express  some  conception.  The  young 
girl  is  not  made  to  look  like  a  staid  old 
spinster ;  the  bride  is  posed  in  a  happy  atti- 
tude, with  harmonizing  accessories;  the 
matron  is  given  an  attitude  of  dignity,  with 
home-like  accessories ;  the  rector  and  the 
priest  are  treated  with  consummate  skill ; 
the  children  are  jolly  and  life-like;  the  gen- 
tleman of  business  is  given  a  knowing 
"bear"  kind  of  pose;  the  dude  is  given  all 
that  he  is  entitled  to,  and  allowed  the  full 
sway  of  his  natural  tendencies — also  the 
dudine. 

Three  life-size  heads  of  young  ladies  we 
consider  to  equal  anything  that  photography 
has  ever  mastered.  This  is,  indeed,  a  won- 
derful collection  ;  we  would  not  neglect  any 
branch  of  it,  and  especially  this,  which  we 
must  not  forget  to  mention.  Hanging  below 
the  portraits  are  fifteen  landscape  gems, 
10  x  16,  which  are  worthy  of  more  than 
honorable  mention.  They  are  in  subject 
not  extraordinary;  they  are  just  such  pic- 
tures as  any  one  would  see  in  a  day's  jour- 
ney, either  in  Ohio,  Northern  New  York, 
or  Western  Pennsylvania,  or  in  a  hundred 
other  sections  of  our  country.  But  they 
are  all  secured  according  to  the  rules  of 
"How  to  See" — after  Kyder.  They  are 
simply  magnificent,  soft  and  lovely,  quiet 
in  feeling ;  most  of  them  lonely  spots,  with 
not  a  figure  to  bless  them  ;  but  Lovely  is  the 
only  word  that  can  be  applied  to  them. 
Here  and  there  we  see  a  tiny  couplev  along 
the  roadside,  or  a  solitary  child  seated  upon 
a  bridge  fishing  or  trying  to  fish ;  now  a  cold 
winter  view,  with  some  shivering  children  ; 
but  with  all  there  is  that  same  feeling  of 
lovely,  dreamy  quiet  which  takes  away  the 
senses  and  makes  the  observer  become  one 
with  the  picture.  The  most  poetical  exhibit, 
perhaps,  is  one  of  a  locality  which  we  do 
not  know.  It  is  a  yacht  at  anchor,  with  an 
interested  group  of  people  surrounding  it  at 
the  boat  landing,  looking  very  much  as  if 
something  was  the  matter.  Can  it  be  that 
a  wheel  has  run  off?  or  that  there  is  a  hot 
journal?  No.  Neither  has  a  storm  occurred, 
for  the  mast  stands  stiff  and  upright,  and 
the  sail  is  hoisted  and  ready  for  work.     It 


may,  after  all,  be  only  "a  discussion  on 
prices." 

We  look  now  on  the  opposite  screen.  We 
there  come  to  another  series  of  exquisite 
landscapes,  by  Mr.  W.  A.  Armstrong,  of 
Milwaukee,  Wis.  Mr.  Armstrong  aston- 
ished us  all  by  his  collection  of  pictures  "  In 
and  Around  Milwaukee"  at  the  Exposition 
two  years  ago,  but  since  then  he  has  added 
a  number  of  pretty  things  to  his  collection, 
which  more  than  ever  proves  him  to  be  a 
thorough  student  of  nature  and  a  worthy 
disciple  of  photography.  We  wish  he  had 
given  us  the  titles  of  his  pictures.  It  is 
difficult  to  decide  which  is  the  best,  or  to 
describe  it.  The  whole  collection  is  simply 
elegant. 

K.  G.  Gardner,  of  Kansas  City,  Mo., 
makes  a  variety  display  of  views  and  por- 
traits, and  among  them  we  find  one  of  an 
engine-room  interior,  marked  "four  hours' 
exposure." 

N.  Sarony,  N.  Y.,  exhibits  two  frames  of 
his  examples  of  work,  the  individuality  of 
which  can  be  easily  guessed  at,  for  we  are 
all  familiar  with  his  works.  The  grandest 
picture  of  his  whole  collection  is  "King 
Lear,"  a  magnificent  study  in  light  and 
shade,  and  a  superb  conception. 

A  splendid  life-size  head  of  Col.  V.  M. 
Wilcox,  of  E.  &  H.  T.  Anthony  &  Co.r  is 
hung  next,  and  emanates  from  the  studio  of 
Parkinson,  of  New  York.  It  is  an  admirable 
picture  in  every  respect,  and  was  made  on 
a  Stanley  dry  plate.  It  is  very  rarely  that 
we  see  anything  more  life-like  and  better 
rendered  as  a  direct  life-size  than  this. 

A.  G.  Marshall,  of  Canandaigua,  N.  Y., 
exhibits  two  life-size  "solid  crayon  por- 
traits." 

H.  McMichael,  of  Buffalo,  N.  Y.,  has 
also  an  exhibit  in  the  hall;  but  how  he  oc- 
cupied his  time  as  he  did  for  the  last  six 
months,  and  then  was  able  to  make  the 
display  of  artistic  work  shown  by  his  mag- 
nificent collection,  we  are  not  able  to  say, 
for  he  has  brought  himself  up  to  the  require- 
ments made  upon  him,  both  as  an  artist  and 
as  Secretary.  He  exhibits  eight  frames  of 
magnificent  works  of  art,  many  of  which 
are  admirable  conceptions,  fully  up  to  the 
Capel  standard,  and  they  are  produced  on 
the  Stanley  dry  plate.     Not  only  are  these 


20 


294 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


pictures  of  Mr.  McMichael  artistic,  but  as 
prints  they  are  scarcely  excelled  by  any- 
thing else  in  the  Exposition,  for  they  seem 
to  have  been  produced  with  the  greatest 
care  in  every  respect.  The  other  examples 
of  Mr.  McMichael's  work  are  made  on  the 
St.  Louis  dry  plate.  It  is  not  for  us  to  de- 
termine which  is  the  best,  and  we  doubt 
very  much  if  anybody  could  determine  that 
question  if  they  tried.  One  of  the  brightest 
gems  of  the  collection  of  Mr.  McMichael's 
is  the  life-size  portrait  of  our  artistic  friend 
Mr.  J.  F.  Kyder,  of  Cleveland,  Ohio,  which 
was  done  in  five  seconds. 

On  the  opposite  screen  we  find  an  exhibit 
made  by  Mr.  J.  M.  Brainard,  of  Rome, 
N.  Y.  Mr.  Brainard  was  one  of  the  com- 
petitors for  the  Anthony  prizes  for  examples 
on  the  Stanley  dry  plate,  and  he  and  Mr. 
McMichael  are  the  triumphant  ones.  The 
pictures  are  certainly  very  fine. 

Drezel,  of  Buffalo,  N.  Y.,  seems  to  be 
the  landscape  photographer  of  the  lake  city, 
and  exhibits  some  very  fine  examples  of  his 
work — exterior  and  interior  architectural, 
and  so  forth.  There  is  one,  a  magnificent 
picture  of  an  iron  bridge,  on  a  17  x  21  plate. 
No  fault  can  be  found  with  such  results  as 
these.  The  group  of  nurses  in  the  Creche 
school  is  a  splendid  example  of  photography 
also. 

G.  M.  Carlisle,  of  Piovidence,  R.  I., 
limits  his  display  to  one  frame  largely  of 
portraits  of  very  excellent  quality,  and  one 
composition  group  called  "  Yussouf,"  illus- 
trating James  Russell  Lowell's  last  poem 
by  that  name.     A  very  fine  exhibit,  indeed. 

Mr.  A.  N.  Hardy,  of  Boston,  Mass.,  makes 
a  display  of  nine  very  fine  examples  of  his 
work  on  10  x  12  negatives.  One  of  a  bride 
is  exquisitely  rendered — as  much  so  as  any- 
thing in  the  exhibition.  It  is  simply  lovely, 
and  shows  the  capabilities  of  the  Stanley 
dry  plate.  A  series  of  views  of  the  eclipse 
of  the  sun,  of  June  18,  1885,  is  exhibited  by 
Mr.  H.  C.  Maine,  of  Rochester,  1ST.  Y.,  made 
on  Munroe's  dry  plates.  The  rendering  of 
the  sun  spots  is  considered  wonderful  by 
those  who  are  posted  in  this  direction. 

A  very  pretty  collection  of  modern  views 
upon  5x8  plates  is  exhibited  by  H.  S.  Wyer, 
of  Yonkers,  N.  Y.  A  similar  collection  is 
by  Theo.  Gubleman,  of  Jersey  City,  1ST.  J. 


A  collection  of  portraits  follows  by  Mr. 
Taylor,  of  Rochester,  N.  Y. ;  and  another 
collection  of  portraits  by  Furman,  of  Roch- 
ester, N.  Y.  And  then  we  come  to  the  col- 
lection of  Messrs.  A.  E.  Durable  &  Co.,  of 
Buffalo,  N.  Y.,  which  are  all  made  on  the 
Munroe  dry  plates.  They  all  show  very 
admirable  qualities,  and  speak  well  for  the 
Munroe  plates. 

This  ends  the  collection  of  photographs. 
We  now  come  to  the  magnificent  exhibit  of 
photographic  requisites,  fine  both  in  ar- 
rangement and  quality.  We  think  that  it 
excels  anything  that  was  ever  exhibited  in 
photography  before.  Surely  every  photog- 
rapher who  is  privileged  to  be  at  this  Con- 
vention must  feel  the  advantage  of  seeing 
all  at  once,  and  so  splendidly  displayed, 
such  a  grand  collection  as  there  is  here. 
Of  course,  we  cannot  be  expected  to  do  more 
than  mention  a  list  of  the  parties  who  ex- 
hibit and  a  few  of  their  specialties.  As 
will  be  seen  by  the  plan  of  the  exhibition, 
already  given  by  the  journals,  one  whole 
end  of  the  hall  is  devoted  to  the  quarters  of 
the  various  periodicals.  Starting  at  the 
front  door,  we  pass  down  the  main  avenue, 
and  find  the  display  on  the  right-hand  is 
that  of  Messrs.  E.  &  H.  T.  Anthony  &  Co., 
of  New  York. 

Novelties  and  apparatus  of  all  kinds  are 
exhibited.  Dalmeyer  lenses,  Smith's  de- 
tective camera,  Barker's  patent  revolving 
back  camera,  the  Fairy  Camera,  and  grand 
extension  camera  for  lantern  slide  makers 
and  copyists;  Entrekin's  new  duplex  roller, 
and  the  A.  W.  L.  Bicycle  Camera,  the  Fairy 
Tripod  "that  you  can  put  in  your  valise," 
a  full  line  of  Novel  cameras,  enlarging  lan- 
terns, a  fine  pyramid  of  Stanley  dry  plates 
and  banners,  a  full  line  of  "Climax"  cam- 
eras, fitted  with  Benster's  holders,  and  the 
inside  shutter;  also  an  enormous  collection 
of  useful  inventions. 

The  Scovil  Manufacturing  Co. 's  exhibit, 
on  the  opposite  side  of  the  hall,  contains  a 
full  line  of  the  American  Optical  Co.'s  ap- 
paratus; Morrison's  lenses,  appliances  for 
the  use  of  photographers,  chemicals,  and 
camera  stands.  The  Waterbury  "  K.  D." 
lantern  is  one  of  the  novelties  of  this  exhibit. 
Also  among  its  attractions  is  the  new  "  De- 
tective Camera, "    But  what  seems  to  attract 


THE   PHILADELPHIA    PHOTOGEAPHEE. 


295 


the  most  astonishment  of  all  is  the  Ameri- 
can Optical  Co.'s  Bicycle  Camera.  It  is  cer- 
tainly a  camera  on  wheels,  and  it  don't  seem 
to  be  afraid  to  go.  Another  new  thing  in 
this  exhibit  is  the  "Ne  Plus  Ultra"  outfit, 
which  is  becoming  more  and  more  popular 
every  day. 

Goebel's  new  "  Vignette  Chair,"  an  em- 
bodiment of  common  sense,  as  it  is  labelled, 
attracted  a  good  deal  of  attention,  and  se- 
cured many  sales.  It  is  certainly  a  useful 
accessory  under  the  skylight. 

Following  the  exhibit  of  the  Scovill  Manu- 
facturing Company  is  a  display  of  Messrs. 
David  Tucker  &  Co.,  whose  collection  is 
rather  more  novel  than  some  of  the  others, 
because  of  the  fine  accessories  and  apparatus 
— Eastman's  negative  paper,  Suter  lenses, 
and  Entrekin's  burnishers,  which  are  among 
the  useful  and  necessary  articles  exhibited. 
The  Pistol  Camera  attracted  great  attention. 
One  of  the  most  important  appliances  is  the 
Novelty  Eetouching  Desk,  for  sale  by  these 
gentlemen ;  also  their  drying  and  fuming 
box  attracted  a  good  deal  of  attention,  and 
rightly  so,  because  it  is  a  useful  article  in 
the  printing  line. 

Mr.  "W.  G.  Entrekin  makes  his  own  indi- 
vidual display  of  his  burnishers,  and  shows 
their  advantages.  These  articles  are  so  well 
known  to  all  our  readers  we  need  only  men- 
tion them. 

The  next  exhibit  to  him  presents  us  with 
a  display  of  the  Rochester  Optical  Company, 
whose  apparatus  is  becoming  more  and  more 
popular  every  year.  The  business  of  the 
Company  continually  grows. 

Mr.  George  R.  Angel,  of  Detroit,  Mich., 
makes  a  specialty  of  maps  hand-painted  and 
hand-made.  The  instantaneous  shutter  dis- 
played by  Mr.  Angel  attracted  a  great  deal 
of  attention  from  a  great  many  observers, 
and  seemed  to  be  very  popular. 

Next  to  him  comes  the  Voigtlander  and 
Darlot  lenses,  displayed  by  Benjamin  French 
&  Co.,  of  Boston,  Mass.,  which  we  always 
expect  to  see  at  our  exhibitions,  attended  by 
Mr.  "Wilfred  A.  French  in  person,  who  al- 
ways interests  his  listeners. 

Mr.  Garland's  new  Skeleton  Shutter,  and 
the  new  Thread  Mat,  for  use  in  the  studio, 
are  also  specially  exhibited  by  Messrs.  B. 
French  &  Co. 


Messrs.  A.  M.  Collins,  Son  &  Co.  make  a 
magnificent  display  of  photographic  card- 
boards, together  with  a  few  lithographic 
designs  for  backs.  These  need  only  to  be 
mentioned  to  bring  them  to  the  attention  of 
the  consumer.  Nothing  in  the  world  now 
equals  them;   they  are  without  a  peer. 

H.  A.  Hyatt,  of  St.  Louis,  Mo.,  attends  in 
person.  We  find  here  Kuhn's  Sensitive 
Paper  and  Stretcher.  The  most  important 
is  Kuhn's  Lightning  Intensifier  for  dry 
plates.  Both  give  new  power  to  the  craft. 
Scovil's  unique  apparatus  and  other  novel- 
ties, which  Mr.  Hyatt  takes  care  are  well 
advertised  in  the  Philadelphia  Photog- 
rapher. 

Buchanan,  Smedley  &  Bromley,  of  Phila- 
delphia, exhibit  a  collection  of  draperies 
and  accessories  and  novelties  in  apparatus, 
together  with  some  splendid  specimens  of 
platinotype  prints,  made  by  Willis  &  Clem- 
ents. Both  Messrs.  Smedley  and  Bromley 
were  in  personal  attendance  at  their  exhibit, 
and  made  many  new  friends.  Osborne's 
new  Accessories  were  the  most  prominent 
of  all  the  novelties  at  the  exhibit  of  these 
gentlemen.  None  of  them  has  been  before 
exhibited,  and  therefore  deservedly  attracted 
great  attention. 

Smith  &  Pattison,  of  Chicago,  display  the 
following  novelties :  Baldwin's  Duplex 
Rotary  Polishers ;  Baldwin's  Baby  Holder, 
"from  which  the  child  never  escapes;" 
Hawkes's  Patent  Revolving  Rapid  Shutter; 
Perry's  Instantaneous  and  Magic  Shutter, 
for  regular  outdoor  and  indoor  work.  These 
gentlemen  are  the  Chicago  agents  for  the 
Suter  lens,  and  show  themselves  worthy  of 
the  compliment  by  the  magnificent  stand  of 
specimens  which  they  exhibit  of  portrait 
work  by  the  Suter  lenses.  The  new  Magic 
Camera  Stand,  manufactured  by  these  gen- 
tlemen, is  noted  for  its  easy  working  and 
general  solidity. 

Wm.  Gerhardt,  of  Baltimore,  Md.,  makes 
a  display  of  picture  frames,  and  next  to  him 
is  the  Ennis  perfect  background  holder. 

Next  to  this  is  the  beautiful  collection  of 
gold  and  beautiful  fancy  mats  of  Perigo  & 
Faupel,  of  Baltimore,  Md. 

The  Toledo  Moulding  Company,  of  To- 
ledo, Ohio,  make  a  gorgeous  display  of 
mouldings. 


296 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


The  Eastman  Dry  Plate  and  Film  Com- 
pany, of  Kochester,  N.  Y.,  exhibit  a  splen- 
did collection  of  their  paper  negatives,  the 
prints  of  many  of  which  are  seen  in  the 
Kent  collection,  and  have  been  noticed  pre- 
viously. It  is  a  great  triumph  for  these 
parties  to  make  such  a  glorious  display  of 
their  accomplishments  at  this  exhibition. 

Something  entirely  different  from  what 
was  ever  seen  in  any  former  display  is  the 
exhibit  of  the  necessary  apparatus  to  be  used 
for  the  production  of  paper  negatives  by 
this  new  method.  A  large  glass  case  is  de- 
voted to  the  display  of  the  tiny  bits  of  metal 
work,  such  as  screws,  nuts,  springs,  etc., 
necessary  for  their  apparatus.  These  little 
parts  shown  here  make  one  think  of  the 
parts  of  a  watch.  They  are  very  tastefully 
arranged  by  Mr.  Cooper,  the  demonstrator 
of  the  Eastman  Dry  Plate  and  Film  Co., 
•who  has  distinctly  contrived  to  arrange  the 
various  bits  of  variously  colored  metal  into 
monograms.  The  word  "Convention"  is 
made  up  of  brass  springs ;  the  "  P.  A.  of  A." 
is  made  up  of  tiny  screws  and  spirals  and 
metal  heads;  the  "E.  D.  P.  &  F.  Co."  is 
made  up  of  various  bits  of  brass  and  iron 
and  nickel,  the  whole  being  a  very  beautiful 
exhibit;  "1885"  is  made  up  of  rings  of 
brass.  All  the  parts  are  necessary  in  the 
work  of  making  new  paper  negatives,  film 
carriers,  and  negative  holders.  They  are 
exhibited  in  great  variety  and  astonish  the 
public. 

P.  F.  Shindler,.  of  Hoboken,  N.  J.,  ex- 
hibits his  accessories  and  relief  backgrounds. 
Mr.  D.  H.  Anderson's  splendid  picture  of 
the  Seventh  Kegiment  of  National  Guards 
State  of  New  York,  exhibited  in  Mr.  Shin- 
dler's  frame  is  an  attraction. 

M.  A.  Seed  Dry  Plate  Company  occupy 
their  quarters  with  examples  of  their  work, 
made  upon  plates  made  by  several  New 
York  artists,  and  by  Parker,  of  Newark ; 
Gutekunst,  of  Philadelphia;  and  Murth,  of 
Cohoes,  New  York. 

Wilson,  Hood  &  Co.,  of  Philadelphia,  are 
represented  by  Mr.  John  G.  Hood,  of  that 
firm.  His  particular  specialty  is  the  new 
inventions  of  Mr.  Entrekin,  of  Philadel- 
phia, consisting  of  a  new  Print  Cutter  and 
a  Rotary  Burnisher.  Both  inventions  are 
useful  and  are  well  known,  and  we  need 


not  say  anything  about  them,  except  always 
to  praise  them. 

W.  H.  Walmsley  &  Co.,  of  Philadelphia, 
exhibit  Beck's  autograph  rectilinear  lenses  ; 
Beck's  autograph  wide-angle  lenses,  for  life- 
size  heads ;  10  x  16  landscapes,  made  with 
four  8  x  10-13  inches  focus  ;  Beck's  portable 
folding  cameras,  also  Walrnsley's  instanto- 
graph  shutters,  phantom  shutters,  Excelsior 
dark-room  lantern,  folding  pocket  lantern, 
concentrated  developer  in  single  solutions, 
and  adjustable  view  finder,  by  Mr.  Walms- 
ley in  person. 

Beck's  Autograph  Rectangular  Lens  must 
not  be  forgotten  as  one  of  the  novelties  of 
this  section. 

The  headquarters  of  the  St.  Louis  Dry 
Plate  Company  attracted  a  good  deal  of  at- 
tention, and,  indeed,  the  whole  time  of  the 
attendance  Mr.  Wuestner  was  occupied  in 
answering  questions. 

Mr.  John  Carbutt,  of  Philadelphia,  manu- 
facturer of  the  Keystone  dry  plates  and  pho- 
tographic specialties,  made  a  very  fine  dis- 
play of  his  manufacture.  It  was  attended 
in  person  by  him.  Among  the  novelties 
recently  introduced  by  Mr.  Carbutt  are  his 
Keystone  varnish  and  pyro  varnish  and 
concentrated  developer. 

Malinckrodt's  Chemical  Works,  of  St. 
Louis,  made  a  very  pretty  display  of  chemi- 
cals. 

George  Murphy,  of  New  York,  made  a 
grand  display  of  photographic  instruments. 
He  attended  in  person.  Mr.  Murphy's  new 
photographic  apparatus  attracted  a  great 
deal  of  attention ;  and  rightly  so,  because 
of  the  quality  and  their  appropriateness. 
Mr.  Murphy  also  exhibited  his  peculiar  drop 
shutter,  for  which  he  claims  that  nothing 
comes  up  to  it. 

The  New  Acme  Water  Color  manufac- 
turers made  a  display  of  photographs  and 
materials. 

No  exhibit  in  the  whole  building  attracted 
more  interested  observers  than  did  that  of 
Messrs.  W.  H.  Allen  &  Brother,  of  Detroit, 
Mich.,  whose  specialty  is  the  celebrated 
Suter  lens.  Not  only  do  these  gentlemen 
make  a  fine  display  of  American  results 
from  the  negatives  with  these  instruments, 
but  they  have  been  so  enterprising  as  to 
secure   a   number   of    foreign   productions. 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


297 


Among  these  are  some  of  the  views  of  the 
celebrated  St.  Gothard  Pass  of  Switzerland, 
which  attracted  continual  attention  here,  as 
also  did  the  views  of  Luzerne,  Geneva,  and 
Lake  Luzerne,  and  portraits  made  by  for- 
eign photographers,  all  of  which  verify  the 
claims  made  for  the  lenses  now  so  exten- 
sively sold  by  these  enterprising  gentlemen. 
A  number  of  portraits  are  also  displayed 
made  by  Mr.  E.  Suter,  the  optician,  him- 
self, at  his  home  in  Basle,  Switzerland.  We 
think  that  he  also  made  the  landscapes  for 
this  display.  It  is  certainly  a  very  fine  col- 
lective display. 

Beneath  them  is  the  display  of  Mr.  L. 
G.  Bigelow,  of  Detroit.  There  is  also  a 
various  collection  of  portraits  made  by 
Wykes,  of  Grand  Rapids,  Mich.;  T.  B. 
Perkins  &  Co.,  of  Grand  Bapids,  Mich.  ; 
McKecknie  &  Oswald,  Arthur  &  Philbrick, 
Detroit,  Mich.,  and  others  in  numbers  so 
great  that  we  cannot  mention  all  of  them, 
except  to  say  that  in  every  instance  we  find 
the  most  exquisite  qualities  of  the  lenses 
proven  by  the  results  before  u.s.  In  addi- 
tion, a  large  series  of  20  x  24  and  8  x  10  pic- 
tures of  the  New  Orleans  Exposition — of 
the  old  moss-covered  live-oak  trees  and  the 
old  Liberty  Bell,  all  made  by  the  Centen- 
nial Photographic  Company,  is  near. 

Mr.  F.  Hendricks,  of  Syracuse,  made  his 
department  one  of  the  "headquarters"  of 
the  Exposition,  and  sold  everything. 

The  Cramer  Dry  Plate  Works  Section 
was  often  attended  by  Mr.  Cramer  in  person 
and  by  his  assistant,  and  was  also  one  of  the 
attractive  parts  of  the  Exhibition. 

The  Blair  Tourograph  and  Dry  Plate 
Company,  of  Boston,  Mass.,  made  a  very 
splendid  display  of  their  apparatus  and  ac- 
cessories, similar  to  the  one  made  at  New 
Orleans.  Mr.  T.  H.  Blair  and  his  brother 
attended  in  person,  and  found  sufficient  to 
do  during  the  whole  of  their  presence  there. 
The  "  Lucidograph "  exhibited  by  these 
gentlemen  attracted  a  great  deal  of  atten- 
tion, and  was  one  of  their  best  exhibits. 
Their  place  was  the  entertaining  headquar- 
ters of  a  great  many. 

The  outer  line  of  the  Exposition  Hall 
was  occupied  principally  by  novelties,  the 
most  of  which  are  familiar  to  our  readers, 
but  must  be  mentioned,  as  follows: 


Gilbert's  lubricator  and  automatic  retouch- 
ing pencils  headed  the  line. 

H.  A.  W.  Brown,  of  Phillipsburg,  Ind., 
exhibited  the  model  of  his  solar  camera, 
with  a  self-acting  vignetter  and  reflector. 

L.W.  Seavey,  of  New  York,  photographic 
backgrounds  and  accessories,  with  a  fine 
collection  of  photographs  illustrating  their 
use. 

G.  B.  Bryant,  of  Laporte,  Ind.,  back- 
grounds and  accessories,  with  photographs 
illustrating  their  use. 

W.  E.  Ashe,  scenic  artist,  of  New  York, 
some  decided  novelties  in  backgrounds,  ac- 
cessories, rocks,  stumps,  rustic  seats,  gates, 
and  what  not,  for  the  use  of  the  photog- 
rapher, together  with  a  fine  series  of  photo- 
graphs illustrating  their  application.  An- 
other proof  of  his  inventive  genius  is  Mr. 
Ashe's  latest  window  accessory,  which  needs 
only  a  handsome  subject  to  make  it  superb, 
indeed. 

Knapp  &  Caldwell,  Jersey  City,  N.  J., 
display  photographic  accessories  quite  novel 
in  design,  and  in  some  measure  new. 

All  these  gentlemen  are  entitled  to  a  great 
deal  of  credit  for  the  3tudy  which  they  have 
applied  in  providing  photographers  with 
acceptable  and  harmonious  accessories,  and 
the  wherewithal  to  make  good  pictures. 

Schaffer,  Lubrick  &  Schaffer  attracted  a 
great  many  observers  and  purchasers. 

Lehman  &  Brown,  importers,  of  New 
York,  made  their  usual  exhibit. 

The  Acme  flue  heating  burnisher  ended 
the  list,  and  tried  to  shine  over  all. 

The  show  was  a  fine  one,  and  admirably 
installed  by  the  very  efficient  Secretary,  Mr. 
H.  McMichael. 


AN  INTERESTING  VISIT  TO  THE 

ESTABLISHMENT  OF  THE 

EASTMAN  DEY  PLATE 

AND  FILM  CO. 

"  About  the  middle  of  life's  onward  way. 
I  found  myself  within  a  darksome  dell, 
Because  from  the  true  path  I  went  astray. 
Alas  !  how  hard  a  thing  it  is  to  tell — " 

Dante's  Inferno. 

And  that  is  just  what  what  we  did.  On 
our  way  to  the  Buffalo  Convention  we  halted 
at  Rochester  in  order  to  make  a  call  at  the 


298 


THE    PHILADELPHIA    PHOTOGBAPHEE. 


establishment  of  the  Eastman  Dry  Plate 
and  Film  Co.  We  were  shown  "all  the  ins 
and  outs  "  under  the  leadership  of  the  Cap- 
tain of  the  place,  Mr.  George  Eastman,  and, 
now,  in  the  language  of  the  immortal  bard, 
we  find 

"  Alas  !  how  hard  a  thing  it  is  to  tell  " 

about  it.  Our  object  was  to  learn  all  about 
the  new  film  or  "Negative  Paper"  just 
ready  to  be  introduced,  in  order  that  we 
might  intelligently  inform  our  readers  about 
it.  As  much  as  ten  months  ago  we  an- 
nounced in  these  pages  that  a  new  method 
of  making  negatives  upon  an  emulsionized 
film  on  paper  was  in  the  experimental  stage, 
and  that  in  due  course  of  time  the  fraternity 
would  be  asked  to  consider  the  introduc- 
tion of  important  changes  in  their  methods 
of  securing  their  results.  We,  of  course, 
had  in  mind  the  now  perfected  product  of 
the  Company  whose  works  we  shall  now 
enter  hand  in  hand. 

After  inspecting  the  engine — "  the  gentle- 
man who  does  the  work  " — we  were  hoisted 
by  the  elevator  to  the  upper  floor.  There, 
in  the  various  apartments  we  found  ma- 
chinery for  cleaning  the  glass  and  for  giving 
it  its  final  touch  before  being  carried  into 
the  emulsionizing  room  (for  this  is  a  dry 
plate  factory  also,  remember)  ;  machinery 
for  rolling,  cutting,  and  dampening  the 
paper,  and  store-rooms  for  stock;  cases  of 
gelatine,  chemicals,  etc.,  all  in  the  open 
light.  And  now  for  the  inside.  But  before 
we  enter  that  let  us  learn  a  little  of  the  state 
of  affairs  up  to  the  present  time  as  regards 
the  flexible  negative  process.  We  cannot 
do  better  than  quote  from  the  statement  of 
the  Company  as  to  this : 

A  survey  of  the  field  when  it  was  first 
realized  that  glass  would  eventually  have 
to  give  way  to  a  more  suitable  negative 
support,  developed  the  fact  that  very  little 
had  been  done  in  a  practical  way  in  the  di- 
rection indicated,  and  that  the  completion 
of  any  process  to  supplant  glass  dry  plates 
would  necessitate  not  only  the  invention  of 
the  material  itself,  but  means  for  exposing 
the  material  when  made. 

With  full  knowledge  of  the  difficulties  to 
be  encountered,  the  Company  determined  to 
undertake  a  series   of  experiments,  having 


for  their  object  the  perfecting  of  a  process 
that  would  relieve  photography  from  some 
of  the  evils  inseparably  connected  with  the 
use  of  glass  in  negative  making. 

Paper  was,  naturally,  the  first  material 
selected,  and  as  it  had  proved  a  failure  in 
other  hands,  as  a  permanent  support,  it  was 
determined  to  employ  it  only  as  a  tempo- 
rary support,  and  transfer  the  image  after 
development.  A  process  was  devised  in 
which  this  transfer  could  be  accomplished 
with  great  certainty  and  ease,  when  it  was 
discovered  that  the  image,  when  the  paper 
was  coated  in  the  ordinary  way,  retained  all 
the  grain  heretofore  supposed  to  be  in  the 
paper. 

After  further  experiment  a  method  was 
devised  for  preparing  the  paper  so  that  the 
image,  when  transferred,  would  be  free  from 
grain.  When  this  point  of  perfection  was 
arrived  at,  it  was  discovered  that  the  image 
would  print  as  free  from  grain  and  quite  as 
quickly  through  the  paper,  if  rendered 
properly  transparent,  as  it  would  if  trans- 
ferred to  a  sheet  of  gelatine.  In  other  words, 
that  the  grain  in  paper  negatives  heretofore 
supposed  to  be  in  the  paper,  has  really  been 
in  the  image,  and  when  freed  from  the 
image  the  grain  of  the  paper  can  be  ren- 
dered imperceptible,  provided  a  proper 
paper  has  been  used.  The  result  is  a  nega- 
tive process  that  is  freed  from  all  objection- 
able features  of  glass,  and  unaccompanied 
by  any  mechanical  difficulties. 

This  was  demonstrated  to  us  at  the  time 
of  our  visit,  and  afterwards  most  fully  to 
the  attendants  upon  the  Convention.  Now 
let  us  see  how  it  is  done.  See?  We  are 
kindly  taken  by  the  Eastman  hand  and  by 
some  means  which  we  entirely  forget,  found 
us  in  an  immense  apartment,  hanging  upon 
the  walls  of  which  here  and  there,  were 
tall  cylinders  red  as  blood,  looking  like  red- 
hot  sections  of  stovepipe.  A  rickety-rump 
sort  of  a  noise  and  a  seething  sound  revealed 
to  us  that  something  was  going  on,  and 
presently,  by  slow  development,  human 
images  became  more  and  more  defined  until 
we  could  clearly  recognize  that  this  was  the 
"coating  and  drying  room."  We  began  to 
discover,  too,  what  caused  the  noises  which 
had  alarmed  us,  for  now  we  came  up  against 
a  great  vessel  which  gave  forth  the  seething 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


299 


sound.  It  was  warm.  It  was  black.  It 
was  dark.  It  was  a  mystery.  It  seemed 
that 

"  Thus  not  by  fire,  but  by  the  art  Divine, 
A  lake  of  pitch  aye  seethed  in  the  abyss, 

And  with  thick  glue  bemired  the  bank  malign; 
I  saw  it,  yet  perceived  I  not  in  this 

Aught  but  the  bubbles  its  fierce  boiling  raised, 
Upheaving  now,  and  now  compressed,  I  wis." 

From  this  "  abyss  "  ran  a  wide  stream  over 
whose  less  uneasy  surface  we  saw  tripping 
an  endless  slip  of  paper  which,  taking  up  a 
portion  of  the  sticky  mass  below,  went  for- 
ward upon  its  journey  and  was  hung  up  in 
space,  far  beyond,  to  dry.  With  eager  edi- 
torial curiosity,  led  by  means  of  the  rickety- 
rump  noise  we  endeavored  to  "  see  the  end 
of  this  thing,"  when 

"  My  Leader  said  to  me  '  Beware '  and  drew 
Me  towards  him  from  the  spot  where  I  was 

[placed." 

Into  a  second  cell  we  then  followed,  where 
the  ready  coated  paper  was  slit  and  cut  into 
proper  size  and  then  placed  in  a  machine 
for  winding  it  upon  the  spools.  After  these 
operations  it  was  packed  for  the  market — all 
in  the  dark. 

Sauntering  through  the  rest  of  the  factory, 
we  saw  that  no  pains  had  been  spared  to 
make  a  most  completely  accoutred  establish- 
ment. Here  are  rooms  for  the  chemicals ; 
for  the  mixing  of  the  emulsion :  for  the 
manufacture  of  distilled  water  in  bulk  ;  for 
the  purification  of  alcohol ;  for  the  storage  of 
silver  and  chemicals  ;  for  the  machine  shop 
and  tool  room;  and  for  the  full  sway  of  a 
monstrous  calendering  machine  whose  rolls 
are  sixteen  inches  in  diameter.  Not  only  did 
the  industrious  and  thoughtful  gentlemen 
here  engaged  find  themselves  often  to  serve  as 
novices  in  their  work,  but  after  the  negative 
paper  was  produced  in  perfection,  it  would 
not  be  available  unless  some  means  could  be 
devised  for  working  it  in  the  hands  of  the 
photographer.  They  were  not  idle  in  this 
direction  either,  for  while  the  experiments 
with  the  material  were  being  carried  on, 
apparatus  was  being  devised  for  its  exposure 
in  the  single  sheet  and  in  the  roll. 

"The  Film  Carrier,"  is  the  name  given 
to  the  first  and  is  made  so  light  and  strong, 
that  with  the  film  attached  it  may  be  placed 


in  any  holder  as  though  it  were  a  sheet  of 
glass.  Its  use  is  obvious.  ^The  method  of 
exposing  the  film  paper  in  a  continuous  roll 
is  more  intricate,  but  none  too  much  so  for 

Fig.  1. 


the  inventive  genius  of  the  earnest  gentle- 
men who  have  provided  us  with  the  East- 
man-Walker roll  holder. 

Fig.  2. 


It  consists  essentially  of  a  metal  frame 
carrying  the  spool  wound  with  the  supply 
of  paper,  and  a  reel  for  winding  up  the  ex- 
posed paper,  suitable  devices  for  maintain- 
ing a  tension  upon  the  paper,  and  measure- 
ing  and  registering  mechanism.  The  frame 
is  hinged  at  both  ends  to  the  paneled  board 
which  forms  the  back  of  the  enclosing  case. 
The  second  cut  shows  the  holder  with  the 
case  partly  raised.  The  movement  raised 
for  changing  the  spool  is  shown  in  the  third 
drawing,  and  in  Fig.  4  the  spool  of  paper, 
ready  to  be  inserted  in  the  holder  is  seen. 

To  fill  the  holder,  the  movement  is  raised 
as  in  Fig.  3,  the  spool  inserted  in  its  place 
under  the  brake  and  fastened  with  the 
thumb-screw  on  the  side  of  the  frame;  the 
pawl  on  the  tension  barrel  is  thrown  off,  the 
bank  on  the  spool  broken,  and  sufficient 
paper  drawn  out  to  reach  over  the  bed  to 
the  reel ;  the  movement  it  shut  down  and 
fastened  and  raised  at  the  reel  end,  the  paper 
is  then  drawn  over  the  guide  roll  and  slipped 
under  the  clamp  on  the  reel,  and  the  reel 
turned  sufficiently  to  give  the  clamp  a  hold 


300 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


on  the  paper.  Now,  throw  in  the  pawl  on 
the  tension  drum  and  put  on  the  tension  by 
turning  the  tension  barrel  over  to  the  left 
until  the  paper  is  taut;  shut  down  the 
movement  and  put  on  the  case,  insert  the 
key  and  turn  it  over  until  the  alarm  strikes 
once,  draw  the  slide  and  mark  the  limits  of 
the  first  exposure  with  a  lead  pencil.  The 
holder  is  then  ready  to  attach  to  the  camera. 
After  the  first  exposure  turn  the  key  until 

Fig.  3. 


the  alarm  strikes  four  times,  (three  in  the 
4x5  holder).  This  brings  a  fresh  sheet 
onto  the  bed  for  exposure,  after  which  turn 
the  key  and  make  as  many  exposures  as  re- 
quired. When  the  required  number  of 
exposures  have  been  made  take  the  holder 
intothe  dark-room,  take  off  the  case  and 
insert  the  point  of  a  penknife  in  the  slot  in 
the  guide  roll  and  separate  the  exposed  from 
the  unexposed  by  drawing  it  along  the  slot. 
Throw  off  the  pawl  from  the  reel  and  draw 

Fig.  4. 


out  the  exposed  paper  and  cut  it  off  at 
every  fourth  mark  (third  mark  in  the  4x5 
holder),  with  a  pair  of  shears.  If  any  un- 
exposed paper  remains  on  the  spool  draw 
over  the  end  and  attach  it  to  the  reel  as 
before  and  the  holder  is  ready  for  work 
again. 


A  spool  of  unsensitized  paper  is  sent  out 
with  each  holder  that  the  operator  may 
accustom  himself  to  working  the  holder  in 
the  light  before  manipulating  it  in  the  dark- 
room. 

These  holders  are  made  in  such  a  manner 
that  they  can  be  fitted  to  the  camera  by  any 
good  workman,  who  has  only  to  dress  down 
the  outside  frame  of  the  holder  (which  in 
making  is  left  larger  than  necessary),  until 
it  fits  the  camera. 

To  our  surprise  we  found  a  great  stock  of 
these  goods  all  ready  for  the  market.  To 
experiment,  one  can  purchase  say  a  5  x  8  out- 
fit for  working  one's  own  camera  consisting 
of:  2  doz.  5x8  negative  paper;  1  8-oz. 
bottle  developer  ;  1  8-oz.  bottle  castor  oil ; 
1  6-in.  vel.  rubber  squeegee  ;  2  5  x  8  carriers, 
complete,  for  $3.50.  Two  gross  of  5x8. 
negative  papers  weigh  only  2J  lbs.  Each 
"  spool  "  contains  enough  paper  for  24  5x  8 
exposures.  Twenty-one  boxes  of  the  cut 
sheets  represent  a  ton  of  dry  plates. 

Ponder  these  things  in  your  leisure  mo- 
ments. The  development  of  the  paper 
negative  we  have  seen  and  it  is  most  simple 
and  easy. 

To  Develop  : 

TAKE 


Solution 
Water    . 


1  ounce. 
4  ounces. 


For  quick  exposures  use  only  one-half 
the  above  quantity  of  water.  In  case  of 
over-exposure,  add  to  each  ounce  of  de- 
veloper one  drop  of  the  following 

Restrainer  : 
Bromide  of  Potassium  .         .     1  ounce. 
Water    .         .         .         .         .6  ounces. 

This  developer  never  gets  muddled  with 
age,  and  sufficient  old  developer  should 
always  be  kept  with  which  to  commence 
development.  The  contents  of  this  bottle 
are  sufficient  to  develop  one  hundred  5x8 
paper  negatives. 

There  is  nothing  to  fear.  It  is  but  for 
the  craft  to  try  intelligently  and  they  will 
have  a  new  power  in  their  hands,  which, 
when  understood,  will  not  be  readily  given 
up.  And  as  they  make  discoveries,  we  shall 
hope  to  have  our  magazine  used  as  a  me- 
dium of  communication,  as  it  was  when  the 


THE   PHILADELPHIA    PHOTOGEAPHEE. 


301 


new  emulsion  process  came  into  use.  After 
our  visit  to  the  Inferno  whence  all  these 
lessons  come,  we  made  haste 

"  To  turn  again  to  the  clear  world  of  light." 

where  we  found  the  Buffalo  Convention. 

There,  Mr.  J.  H.  Kent,  of  Rochester, 
N.  Y.,  held  another  surprise  for  us  in  his 
magnificent  exhibit  of  paper  negatives,  and 
prints  therefrom,  of  which  we  make  men- 
tion in  another  place. 

And  since  then  a  gold  medal  has  been 
awarded  for  what  we  have  seen,  by  our  for- 
eign compeers. 

OUR  PICTURE. 

The  beautiful  examples  of  portraiture 
which  embellish  our  current  number  were 
printed  from  negatives  made  by  Mr.  C.  F. 
Conley,  Boston,  Mass.,  on  the  already  fa- 
mous "  Stanley  "  dry  plates. 

This  latter  piece  of  information  we  give 
our  readers  because  the  "  Stanley  "  may  be 
new  to  them,  although  they  have  made  a 
good  name  already  in  Europe,  Canada,  and 
throughout  our  own  land. 

It  would  seem  superfluous  to  do  more  than 
make  this  statement,  for  the  exquisite  re-* 
suits  place  Mr.  Conley  among  the  masters 
of  lighting,  posing,  and  development,  and 
make  the  plates  the  desire  of  all  who  un- 
derstand their  real  good  qualities. 

No  effort  has  been  made  to  secure  showy 
subjects,  whose  personal  appearance  would 
divert  the  mind  from  the  real  object  in  view 
— the  understanding  of  the  photographic 
work.  Neither  are  "  accessories  thrown 
in  "  to  catch  the  light  and  delude  the  brain. 

These  are  simply  examples  of  excellent 
plain  photography,  pure  and  unadulterated, 
and  in  Mr.  Conley's  usual  artistic  style. 
For  what  they  are — admirable  studies — we 
heartily  commend  them.  We  undertook  to 
print  them  in  a  hurry  for  this  special  issue, 
and  so  we  have  used  nine  double  negatives, 
all  different  in  subject,  and  as  uniform  in 
quality  and  in  printing  ability  as  any  set 
we  ever  saw. 

We  are  not  informed  as  to  the  rapidity  of 
the  exposures,  but  as  the  dry  plates  of  the 
day  are  so  quick  there  is  many  a  nice  effect 
lost  by  overexposure.     It  will  be  apropos, 


therefore,  to  give  the  method  adopted  by 
Mr.  F.  C.  Beach  (found  in  the  circular 
issued  by  the  trade  agents  for  the  Stanley 
plates,  Messrs.  E.  &  H.  T.  Anthony  &  Co.), 
for  the  treatment  of  overexposed  plates.  It 
is  as  follows  : 

Into  2|  ounces  of  Mr.  Newton's  sulphite 
soda  solution  (water,  32  ounces ;  sulphite 
soda,  3  ounces),  I  put  5  grains  of  dry  pyro, 
J  grain  of  bromide  of  potassium,  and  3  drops 
only  of  his  yellow  prussiate  of  potash  solu- 
tion, made  as  follows,  using  480  grains  of 
the  salts  to  the  ounce  : 

Water,         .         .         .         .32  ounces. 
Yellow  Prussiate  of  Potash       3        " 
Carbonate  of  Soda  (granu- 
lated),    .         .         .         .       3      " 
Carbonate  of  Potash,  .       3      " 

After  wetting  the  plate  and  pouring  on 
the  stated  developer,  the  image  came  out 
very  gradually  and  beautifully,  and  con- 
tinued to  develop  right  along  until  all  de- 
tails in  the  darkest  portions  were  brought 
out.  The  edges  and  shadows,  which  should 
be  black,  kept  wonderfully  clear.  After 
fixing,  which,  perhaps,  took  eight  minutes, 
I  found  I  had  two  elegant,  soft,  clear  nega- 
tives, resembling  very  closely  the  appear- 
ance of  a  wet  plate,  and  possessing  the  de- 
sirable quality  of  being  rapid  printers.  I 
have  not  yet  tried  the  plates  as  to  rapidity, 
but  some  results  which  I  have  seen  surprise 
me.  I  was  delighted  to  notice  the  ease  with 
which  they  develop,  and  the  extreme  lati- 
tude of  exposure  they  will  bear,  a  quality 
specially  valuable  to  the  amateur. 

The  latitude  allowed  with  these  plates 
must  make  them  very  popular,  and  their 
admirable  quality  will  win  them  friends  in 
all  quarters. 

Col.  V.  M.  Wilcox  writes  us  :  "  They  give 
good  satisfaction,  and  our  customers  seem  to 
be  wonderfully  pleased,  and  cannot  say  too 
much  in  their  praise."* 

For  further  testimonials,  see  the  adver- 
tisement. 

The  prints  were  made  at  our  own  print- 

1  Since  above  was  in  type,  Mr.  Conley  writes 
among  other  data  as  follows:  "The  plates  were 
developed  with  Mr.  Cooper's  sal  soda  developer. 
The  light  being  changeable,  I  timed  all  the  way 
from  two  to  seven  seconds.  They  were  made 
with  a  No.  6  Voigtlander  lens,  smallest  stop. 


302 


THE    PHILADELPHIA    PHOTOGEAPHEB. 


ing  rooms,  on  the  popular  brand  of  paper 
known  as  N.  P.  A.,  also  supplied  by  the 
trade  everywhere,  and  to  us  by  Messrs.  E. 
&  H.  T.  Anthony  &  Co.,  New  York. 


GERMAN  CORRESPONDENCE. 

New  Heliographic  Process  in  Half-tones — 
Improved  Sensitiveness  of  Dry  Plates — 
Ducos  du  Hauron's  Heliochromic  Prin- 
ciple and  Modification  of  it. 

The  process  of  heliograveur  in  half-tones, 
which  formerly  was  confined  exclusively  to 
the  firm  of  Goupel,  is  becoming  more  gene- 
ral in  it  application.  Obernetter's  copper- 
light  engravings  are  exciting  much  atten- 
tion in  this  respect.  These  are  not  mere 
results  of  experimentation,  but  examples  of 
a  practical  process  in  active  operation, 
among  others,  an  art  sheet,  choir  chairs 
from  Memmingen,  prepared  and  published 
in  the  celebrated  Zeitschrift  fur  Bildende 
Kunst  by  Livtzow,  which  speaks  well  for  the 
new  process.  Furthermore,  a  series  of  plates 
form  a  great  medal  work,  whose  pictures 
are  taken  directly  from  nature ;  besides 
large  sheets  of  festival  and  society  diplomas 
from  drawings,  which  illustrate  in  a  striking 
manner  the  capabilities  of  the  process,  and 
which  are  exciting  great  interest.  A  like 
attention  is  being  directed  to  a  number  of 
instantaneous  views  in  lichtdruck  from 
negatives  from  various  sources. 

Recently,  endeavors  have  been  made  to 
increase  the  sensitiveness  of  dry  plates  in 
respect  to  instantaneous  exposures.  Mr. 
Himley,  of  the  renowned  firm  of  Siemens 
&  Halkse,  has  made  many  experiments  in 
that  direction.  He  found,  first,  that  soften- 
ing the  plate  before  development  in  a  bath 
of  1  drop  of  a  saturated  solution  of  bichlo- 
ride of  mercury  and  1  drop  of  saturated 
solution  of  hyposulphite  of  soda,  in  200 
c.cm.  of  water,  is  of  great  advantage. 
Experiment  has  shown  that  stronger 
amounts  of  mercury  gave  hard  negatives 
and  delayed  the  development;  increased 
amount  of  hypo  occasioned  slight  fog. 
Then  he  tried  acetate  of  potassa,  ammonia, 
fuming  and  bathing  in  citrate  of  silver  so- 
lution— all  of  which  did  not  give  him  the 
wished-for  results.  Finally,  he  tried  dry 
plates  of   18°  W.,  bathed  in   a  solution  of 


J  c.cm.  of  citrate  of  silver  solution  and  100 
c.cm.  of  alcohol  (absolute).  The  silver 
citrate  solution  was  made  up  according  to 
Eder  : 


Nitrate  of  Silver 
Citric  Acid 
Distilled  Water  . 


10  grains. 

10  grains. 

100  grains. 


With  this  he  got  the  following  results  : 

1.  1  minute,  bathed,  dried;  2  minutes, 
fumed,  exposed,  immediately  developed. 
Result :  clear  ;  thin  shadows. 

2.  1  minute,  bathed,  dried  ;  2  minutes, 
fumed,  exposed  ;  2  minutes  in  the  softening 
bath,  then  developed.  Result:  clear,  and 
well-worked-up  detail  in  shadows. 

3.  2  minutes,  bathed,  dried ;  4  minutes, 
fumed,  exposed,  and  developed.  Result: 
quicker  than  1  ;  clear,  thin  shadows,  and 
hard. 

4.  2  minutes,  bathed,  dried;  4  minutes, 
fumed,  exposed ;  2  minutes  in  softening 
bath,  developed.  Result':  quicker  than  1, 
2,  3  ;  better  detail  in  shadows. 

5.  3  minutes,  bathed,  dried  ;  6  minutes, 
fumed,  exposed,  and  developed.  Result: 
just  as  rapid  as  1  and  3 ;  clear,  hard,  thin 
shadows. 

6.  3  minutes,  bathed,  dried  ;  6  minutes, 
fumed,  exposed ;  2  minutes  in  softening 
bath,  developed.  Result:  just  as  rapid  as 
4  ;  gave  harmonious  image ;  rich  shadows. 
Best  of  all. 

Ducos  du  Hauron  has,  as  is  well  known, 
endeavored  to  take  pictures  in  their  natural 
colors ;  that  he  made  negatives  through 
red,  violet,  and  green  disks,  and  copied  the 
resulting  negatives  upon  lichtdruck  plates 
and  in  the  complimentary  colors  to  the 
disks,  blue,  yellow,  red,  for  all  three  nega- 
tives, whether  taken  behind  the  green,  red, 
or  yellow  glass,  making  use  of  eosin  col- 
lodion. 

Now,  the  silver  in  the  first  line  is  sensitive 
for  blue  and  green,  less  so  for  violet,  and 
least  of  all  for  red.  It  is,  therefore,  mani- 
festly the  least  suitable  material  for  expo- 
sures through  red  glass.  But,  even  for 
exposures  through  blue  glass  or  violet  glass, 
it  will  not  be  esteemed  the  best  material, 
inasmuch  as  here  the  green  sensitiveness  is 
of  no  value,  and  the  eosin  represses  the 
blue  sensitiveness.     For  exposures  through 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


303 


blue  glass  pure  bromide  of  silver  will  recom- 
mend itself  as  tbe  best  agent ;  for  expo- 
sures tb rough  red  glass  the  cyanin-gelatine 
plate;  but  for  yellow -green  sensitiveness 
the  eosin  plate  stands  foremost. 

Another  fault  of  Ducos's  process  is  the 
arbitrary  choice  of  tbe  printing  color.  The 
doctrine  that  the  plate  photographed  through 
colored  glass  should  be  printed  with  the 
complementary  color  of  the  glass  is  imprac- 
ticable, as  well  as  the  idea  doubtful  that  one 
color  should  complement  the  other.  They 
say  the  complementary  color  to  red  is  green, 
but  what  green  is  left  undecided  ;  in  fact, 
the  complementary  color  to  many  reds  is 
rather  blue  than  green. 

I  propose  the  following  modification  of 
the  process,  which  is  free  of  the  mentioned 
deficiency : 

1.  That,  instead  of  a  single  sensibilitor 
(as  with  Ducos),  several  be  employed,  and 
each  by  itself  in  a  special  plate  :  a  sensitizer 
for  red,  one  for  yellow,  one  for  green,  one 
for  blue-green.  One  for  blue  is  not  neces- 
sary, inasmuch  as  bromide  of  silver  is  itself 
sensitive  to  blue. 

2.  That  the  optic  sensitizers  at  tbe  same 
time  form  the  printing  color  for  the  plate 
obtained,  or,  if  the  sensitizer  itself  cannot 
be  employed  for  the  purpose,  a  color  spectro- 
scopically  nearest  possibly  to  it  be  substi- 
tuted. 

This  last  condition  will  be  appreciated  if 
we  consider  that  the  printing  color  must 
reflect  the  colored  rays  which  are  not  ab- 
sorbed by  the  color  sensitive  plate,  or  can- 
not be  allowed  to  reflect  the  colors  which 
are  to  be  absorbed  by  the  plate. 

If  we  take  a  plate  colored  with  eosine, 
which  is  affected  only  by  the  rays  which 
eosin  silver  absorbs,  which  is  effected  by 
using  a  suitable  medium  in  front  of  the 
objective  (chrome  glass  would  be  suitable, 
or  a  film  colored  with  methyl-roseazaline- 
picrate),  it  will  be  found  that  the  green  and 
green-yellow  rays  are  most  active,  and  ac- 
cordingly afford  a  plate,  which  is  to  be 
copied  on  lichtdruck,  with  a  color  which 
does  not  reflect  these  rays — that  is,  eosine 
itself.  The  case  is  analogous  with  cyanine, 
which  serves  as  an  optical  sensitizer  for 
plates  behind  a  red  medium  (ruby  glass). 
This  affords  for  the  lichtdruck  plates  which 


reflect  all  the  rays  except  those  absorbed  by 
the  cyanine.  But  this  body  is  cyanine  itself. 
Therefore,  a  plate  taken  with  cyanobromide 
of  silver  behind  a  red  glass,  copied  for 
lichtdruck,  is  to  be  printed  with  cyanine. 
Following  this  train  of  thought,  we  arrive 
at  the  conclusion  that  each  plate  which  has 
been  made  sensitive  by  a  given  optical  sen- 
sitizer is  to  be  multiplied  by  the  color  which 
served  as  the  optical  sensitizer.  Now,  to 
be  sure,  we  cannot  employ  very  sensitive 
cyanine,  and,  still  less,  the  sensitive  bromide 
of  silver  (which,  by  reason  of  its  absorption, 
is  itself  an  optical  sensitizer).  Hence,  other 
colored  bodies  may  be  employed  which  have 
an  equal  or  similar  absorptive  power.  Cya- 
nine may  be  replaced  very  well  by  aniline 
blue,  whose  absorptive  band  occupies  the 
same  position  as  cyanine.  Likewise  bromide 
of  silver  by  a  spectroscopically  selected  yel- 
low— for  example,  methyl-orange.  "With 
such  color-combinations,  however,  there  is 
an  apparent  wanting  of  the  shades  of  green. 
This  is,  however,  obtained  by  superposing 
of  the  two  plates,  upon  which  the  green 
rays  have  no  effect.  But,  if  the  gradations 
in  the  green  are  not  sufficient,  it  is  easy  to 
introduce  a  malachite-green  or  analogous 
optical  sensitizer.  Yes,  it  is  recommended, 
to  introduce  more  optical  sensitizers  in  the 
system,  a  greater  number  of  gradations  will 
thus  be  secured.  If  the  sensitizers  are  not 
suitable  for  gelatine  plates  (for  example, 
methyl-violet  and  chlorophyll),  collodio- 
bromide  of  silver  dry  plates  may  be  sub- 
stituted. The  arrangement  of  colors  so 
obtained  demands  not  only  an  artistic 
knowledge,  but  also  a  spectroscopic  knowl- 
edge of  colors.  The  modern  color-stuffs 
offer  many  perplexities  to  the  artist,  but 
they  cannot  surprise  the  spectroscopic  in- 
vestigator. The  old  yellow  dye-stuffs,  mixed 
with  blue,  afforded  green.  Yellow  aniline 
(chrysaniline),  with  aniline  blue,  on  the 
contrary,  in  mixture,  gives  rise  to  red  and 
not  to  green.  Further,  iodine-green  and 
fuchsin,  properly  mixed,  give  a  beautiful 
blue.  You  may  be  very  easily  convinced 
of  this  by  making  dilute  solutions  of  these 
substances  and  mixing  them  in  the  proper 
proportions.  But  the  eye  is  not  always 
capable  of  appreciating  the  spectroscopic 
constitution  of  a  color  without  optical  aids. 


304 


THE    PHILADELPHIA    PHOTOGRAPHER 


For  instance,  red  lead  appears  like  the 
orange  of  the  spectrum  ;  in  fact,  it  reflects 
not  only  orange,  but  also  a  considerable 
amount  of  yellow,  some  dark  red,  and  even 
green — a  fact  which  may  be  easily  demon- 
strated by  subjecting  an  illuminated  arc  of 
red  lead  to  the  spectroscope.  Hence,  the 
painter  in  reproducing  vegetable  green  does 
not  make  use  of  any  chlorophyll,  but  mostly 
green  cinnabar  mixed  with  a  small  amount 
of  English  red.  But  it  is  to  be  observed 
that  although  the  so-constituted  color-mix- 
ture, in  reference  to  the  absorption  band, 
deviates  from  chlorophyll,  the  green  and 
yellow-green  rays  reflected  from  the  mix- 
ture approach  nearer  in  quality  to  chloro- 
phyl.  Hitherto  the  discussion,  has  been 
confined  to  a  few  optic  sensitizers,  but  daily 
chemistry  is  giving  new  color-stuffs  which 
promise  much  for  the  color  sensitive  pro- 
cess ;  and  the  hope  is  that  the  technical  dif- 
ficulties, as  regards  color,  may  in  ten  years 
be  overcome.  Then  will  the  color  sensitive 
process  be  a  simultaneous  blessing  both  to 
photography  and  the  color  printing  process. 
Very  truly  yours, 

Dr.  H.  W.  Vogel. 


THE  ISOCHROMATIC  PROCESS. 

Editor  Philadelphia  Photographer  : 

It  appears  that  Dr.  Vogel  no  longer  dis- 
putes my  claim  to  priority  in  practical  iso- 
chromatic  photography,  but  he  makes  an 
effort  to  produce  a  false  impression  in  re- 
gard to  the  matter  by  "  correcting  "  state- 
ments which  he  asserts  that  I  made,  but 
which  I  did  not  make,  and  by  greatly  ex- 
aggerating the  importance  of  my  failure  to 
be  absolutely  exact  in  my  reference  to  the 
absorption  bands  of  chlorophyll.  And  he 
does  this  in  a  manner  which  would  have 
been  inexcusable  even  if  I  had  actually 
made  the  mistakes  which  he  asserts  that 
I  did. 

Any  one  who  reads  my  article  to  which 
Dr.  Vogel  refers  will  see  that  although  I 
mentioned  the  fact  that  he  was  not  the  first 
to  devote  attention  to  the  subject  of  color- 
sensitiveness  in  photographic  processes,  I 
have  not  disputed  that  he  was  the  first  to 
employ  dyes  for  the  purpose  of  increasing 


the  color-sensitiveness  of  silver  bromide.  In 
the  Year-Book  of  Photography,  for  1885,  p. 
112,  I  stated  that  "  Dr.  Vogel  was  undoubt- 
edly the  first  to  suggest  the  use  of  dyes  for 
increasing  color-sensitiveness  of  silver  bro- 
mide," and  inasmuch  as  Dr.  Vogel  has 
himself  quoted  this  identical  statement,  he 
cannot  plead  ignorance  of  the  fact  that  I 
distinctly  acknowledged  the  claim  which 
he  now  takes  so  much  trouble  to  prove.  It 
is  well  known  that  Dr.  Draper,  of  New 
York,  some  thirty  or  forty  years  ago,  called 
attention  to  the  fact  that  certain  sensitive 
films  which  absorb  particular  rays  of  the 
spectrum  are  proportionately  more  sensitive 
to  those  rays.  The  subject  was  frequently 
discussed,  and  many  attempts  were  made  to 
produce  orthochromatic  photographs  before 
Dr.  Vogel  discovered  that  some  Wortley 
bromide  of  silver  collodion  plates  with 
which  he  was  experimenting  were  remarka- 
bly sensitive  to  green,  and  that  most  of  this 
color-sensitiveness  disappeared  when  the 
plates  were  washed  with  alcohol  and  water. 

I  called  attention  to  the  fact  that  Dr. 
Vogel's  wet  eosine  process  was  insensitive 
to  scarlet  and  ruby  red,  but  I  did  not,  as  he 
alleges,  "assert  that  isochromatic  gelatine 
plates  are  comparatively  insensitive  to  red," 
nor  did  I,  as  he  further  alleges,  say  that 
"isochromatic  gelatine  plates  must  be  de- 
veloped in  almost  total  darkness."  I  stated, 
in  effect,  that  if  isochromatic  gelatine  plates 
were  many  times  more  sensitive  to  red  light 
than  my  chlorophyll  plates,  it  would  be 
necessary  to  develop  them  in  almost  total 
darkness.  No  such  plates  have  been  pro- 
duced. I  also  called  attention  to  the  fact  that 
almost  any  degree  of  yellow  sensitiveness 
could  be  tolerated,  and  might  be  of  practi- 
cal advantage,  provided  that  the  red  sensi- 
tiveness was  not  too  great  to  prevent  the 
safe  preparation  and  development  of  the 
plates  in  red  light.  It  will  be  seen  that  if 
Dr.  Vogel  had  read  my  statements  as  they 
were  made  and  printed,  he  would  have 
found  nothing  to  dispute. 

I  have  made  no  reference  to  Dr.  Vogel's 
so-called  "  azaline  process,"  because  I  be- 
lieve it  was  not  published,  but  has  been 
held  as  a  trade  secret,  and  therefore  is  not  a 
subject  for  scientific  discussion.  I  may  add 
that  inasmuch  as  it  was  the  wet  eosine  pro- 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


305 


cess  which  Dr.  Vogel  announced  as  the 
"solution  of  a  problem,"  the  azaline  pro- 
cess would  have  no  place  in  this  discussion, 
even  if  published. 

I  am  obliged  to  Dr.  Vogel  for  his  refer- 
ence to  Ducos  du  Hauron's  book.  The 
manner  in  which  he  makes  this  reference  is 
calculated  to  produce  the  impression  that 
he  believes  that  Hauron  anticipated  me  in 
the  publication  of  a  process  of  isochromatic 
photography  with  chlorophyll  plates,  and 
is  all  the  more  surprising  when  it  is  con- 
sidered that  if  he  (Dr.  Vogel)  really  held 
such  a  belief,  his  acknowledgment  of  the 
fact  would  react  with  great  force  upon  his 
own  claims.  But  I  can  assure  Dr.  Vogel 
that  I  was  well  aware  of  Hauron's  experi- 
ments, and  know  that  although  he  made 
some  use  of  chlorophyll,  he-  neither  used 
blue-myrtle  chlorophyll  nor  emulsion  plates, 
and  he  never  tried  to  make  an  isochromatic 
photograph,  or  realized,  any  more  than  Dr. 
Vogel,  that  it  would  be  possible  to  make 
such  photographs  by  means  of  any  kind  of 
chlorophyll  stained  plates.  In  fact,  he  was 
so  very  far  from  realizing  the  capabilities  of 
chlorophyll  as  a  color  sensitizer  that  he 
soon  abandoned  it  altogether,  and  used 
eosine  instead. 

Dr.  Vogel  will  readily  see  that  if  I  had 
accepted  either  his  own  or  Hauron's  esti- 
mate of  the  capabilities  of  chorophyll,  the 
complete  solution  of  the  problem  of  practi- 
cal isochromatic  photography  would  have 
been  put  back  more  than  four  years. 

I  was  aware  that  chlorophyll  shows  faint 
absorption-bands  in  the  orange,  yellow,  and 
green  of  the  spectrum,  and  that  this  orange, 
yellow,  and  green  absorption  is  so  insignifi- 
cant in  comparison  with  the  red  absorption 
as  to  appear  hardly  worthy  of  remark  in 
this  connection.  My  chief  reference  was 
to  the  fact  that  I  had  produced  color-sensi- 
tiveness by  purely  chemical  means,  without 
coloring  the  silver  bromide  at  all,  and  this 
important  fact  is  not  disputed. 

I  believe  I  have  clearly  stated  my  claims 
in  the  article  to  which  Dr.  Vogel  refers, 
but  I  repeat  here,  that  I  produced  in  1878 
the  first  photographs  in  which  all  colors 
were  reproduced  in  the  true  proportion  of 
their  brightness,  and  in  1879  I  published 
the  process  in  detail  for  the  benefit  of  the 


photographic  fraternity.  It  was  more  than 
four  years  later  that  Dr.  Vogel  published  an 
inferior  process,  announcing  it  as  "thesolu- 
tion  of  a  problem,"  and  asserted  that  no 
other  practically  useful  process  had  been 
published.  I  do  not  understand  Dr.  Vogel 
to  dispute  the  facts  as  here  stated. 

Fred.  E.  Ives. 


SOCIETY  GOSSIP. 


The  Photographic  Society  of  Phila- 
delphia.— Minutes  of  the  stated  meeting, 
held  Wednesday  evening  July  1,  1885,  the 
President,  Mr.  Joseph  W.  Bates,  in  the 
Chair. 

There  being  no  business  brought  before 
the  meeting,  Mr.  Wood  asked  advice  in  re- 
gard to  developing  a  plate  which  had  been 
exposed  on  an  oil  painting,  in  which  there 
was  a  large  proportion  of  very  non-actinic 
color,  contrasted  with  a  certain  amount  of 
strong  high  light.  This  sort  of  subject 
naturally  presented  great  difficulties  for  its 
proper  development.  A  long  exposure  was 
necessary  to  obtain  the  detail  in  the  darker 
parts.  The  effect  of  the  violent  contrast 
was  to  be  counteracted  by  keeping  down  the 
amount  of  pyro  and  bromide  and  increasing 
the  ammonia  or  other  alkali,  and,  also,  by 
using  the  developer  quite  dilute.  This 
treatment  would  tend  to  bring  out  the  detail 
throughout  the  picture,  and,  as  far  as  possi- 
ble, keep  down  the  strong  contrasts  between 
different  portions  of  it. 

Some  interesting  instantaneous  pictures 
were  sent  by  Mr.  McCollin  to  show  the 
work  of  a  new  exposer,  the  invention  of 
Mr.  Barker,  which  was  soon  to  be  put  on 
the  market.  The  exposure  was  made 
through  a  slit  cut  in  a  curtain  which  passed 
directly  in  front  of  the  plate,  and  the  pict- 
ures shown  were  most  decided  proofs  of  the 
efficiency  of  the  shutter  and  of  the  rapidity 
of  the  Inglis  plates  upon  which  they  were 
taken. 

The  subjects  were  those  of  figures  in 
most  rapid  motion — running,  leaping,  bi- 
cycle riding,  etc  ,  and  all  were  remarkable 
for  their  sharpness  and  full  detail.  The 
bicycle  pictures  represented  wonderful  feats 
in  that  line,  such  as  riding  down  a  flight  of 
stone  steps  on  a  bicycle  with  the  back  wheel 


30ti 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


removed,  riding  over  a  gutter  without  back 
wheel  or  saddle,  and  leaping  from  the 
ground  while  riding  a  single  wheel  provided 
only  with  the  pedals. 

A  shutter  was  also  shown  constructed  on 
the  plan  devised  by  Dr.  Morris  J.  Lewis. 
A  disk  of  cardboard  was  arranged  to  rotate 
behind  the  lens,  with  a  hole  through  which 
the  exposure  was  made.  At  the  centre  of 
this  disk  was  a  small  pinion  into  which  fit- 
ted the  teeth  of  a  segment  of  a  larger  cog- 
wheel. Rubber  bands  attached  to  this  seg- 
ment imparted  to  it  rapid  motion,  which, 
on  being  transmitted  to  the  disk,  was  greatly 
multiplied.  Great  rapidity  could  be  attained 
by  the  shutter  with  no  perceptible  jar. 

Messrs.  "Wilson,  Hood  &  Co.  submitted 
for  inspection  samples  of  a  new  style  of 
mount  known  as  the  "ragged  edge,"  the 
edge  having  the  appearance  of  being  roughly 
torn  to  shape  and  size. 

Mr.  Carbutt  showed  a  number  of  prints 
of  Yellowstone  scenery,  from  20  x  24  nega- 
tives, made  by  Mr.  F.  Jay  Haynes,  of 
Fargo,  Dakota,  which  were  greatly  admired. 
The  negatives  were  made  on  Carbutt's  spe- 
cial plates,  and  Mr.  Haynes  had  stated  that, 
using  one  plate  from  a  lot  of  36  for  trial,  35 
had  been  exposed  with  the  loss  of  only  2, 
the  remaining  33  all  producing  good  nega- 
tives. 

Interesting  pictures  were  also  shown  by 
Messrs.  Barrington,  Corlies,  Wood,  and 
others. 

Adjourned.      Robert  S.  Redfield, 

Secretary. 

Minutes  of  the  regular  meeting,  held 
Wednesday  evening,  August  5,  1885,  the 
President,  Mr.  Joseph  W.  Bates,  in  the 
Chair. 

The  minutes  of  the  last  stated  meeting 
having  been  approved,  Mr.  Wood  showed 
a  device  for  attaching  a  camera  to  a  car 
window,  to  use  in  taking  pictures  from  a 
train  in  motion.  It  consisted  of  a  brass 
plate,  which,  by  means  of  a  flange  turned 
down  at  one  edge  and  a  set  screw  under- 
neath, could  be  firmly  clamped  to  the 
window  sill.  Two  small  spikes  on  the 
inner  side  of  the  flange  helped  to  hold  the 
plate    in    position,    and    the    camera    was 


screwed  on  to  the  plate  in  the  same  manner 
as  to  the  head  of  a  tripod. 

Mr.  Wood  also  showed  a  number  of  views 
taken  in  Camden,  showing  the  devastation 
caused  by  the  recent  cyclone. 

Messrs.  Wilson,  Hood  &  Co.  showed  some 
negatives  made  on  the  Eastman  negative 
paper,  and  a  number  of  prints  from  paper 
negatives.  The  prints  were  remarkable  for 
their  fine  detail  and  the  apparent  entire  ab- 
sence of  any  trace  of  the  grain  in  the  nega- 
tive paper,  it  being  practically  impossible  to 
tell  whether  they  were  made  from  glass  or 
paper  negatives. 

For  use  in  ordinary  plate-holders,  thin 
pieces  of  wood,  about  the  thickness  of  the 
glass  plate,  are  provided,  on  which  the  paper 
is  held  in  position  by  a  tin  frame,  fitting 
tightly  around  the  edges  of  the  board,  which 
is  then  placed  in  the  holder,  as  though  it 
was  a  glass  plate. 

An  exposer  of  ingenious  construction,  the 
invention  of  Mr.  Stiff,  was  also  shown.  It 
was  intended  to  be  used  for  either  instanta- 
neous work  or  time  exposures  up  to  about 
thirty  seconds. 

The  slide  of  the  shutter,  instead  of  having 
the  usual  opening,  was  simply  cut  across,  so 
as  to  form  two  rectangular  pieces.  The 
lower  piece,  covering  the  front  of  the  lens, 
and  the  upper  one,  being  supported  just 
above,  with  its  lower  edge  in  contact  with 
the  top  of  the  first  piece. 

A  pneumatic   release   caused   the   lower 
piece  to  fall  and  uncover  the  lens,  and  after 
an  interval,  determined  by  the  adjustment, 
the  second  piece  fell,  completing  the   ex- 
posure. 

The  length  of  the  exposure  was  regulated 
by  an  ingenious  contrivance,  in  which  a 
lever  or  pointer  operating  over  a  graduated 
dial-plate,  changed  the  size  of  an  opening  in 
an  air  chamber,  so  that  the  air  under  pres- 
sure of  a  rubber  cap  escaped  more  or  less 
rapidly,  the  second  shutter  falling  after  a. 
certain  quantity  of  air  had  escaped. 

Adjourned. 

Robert  S.  Redfield, 

Secretary. 

The  Pacific  Coast  Amateur  Photo- 
graphic Association. — Monthly  meeting 
held   at   the  Association   rooms,   318   Pine 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


307 


Street,  Thursday  evening,  August  6.  Mr. 
G-ibbs  in  the  Chair. 

Minutes  of  the  last  meeting  read  and  ap- 
proved. 

The  Committee  on  Membership  having 
reported,  Mr.  Alexander  Cheminant  was 
elected  a  member  of  the  Association. 

Resolved,  that  the  Chairman  appoint  a 
committee  of  three  members,  not  present  at 
the  last  field  day,  to  pass  upon  the  prints 
presented  for  competition,  and  report  at  the 
next  meeting. 

The  Chairman  thereupon  appointed 
Messrs.  Louden,  Lange,  and  Gibbs  to  act 
as  such  committee. 

A  committee  consisting  of  Messrs.  Wan- 
desford,  Tale,  and  Babcock  were  appointed 
to  pass  upon  the  "expectations "  prize  print, 
and  report  at  the  next  meeting. 

Resolved,  that  all  duplicate  books  and 
periodicals  belonging  to  the  Association  be 
sold  to  the  highest  bidder. 

An  impromptu  auction  was  thereupon 
had,  and  several  dollars  added  to  the  funds 
in  the  treasury. 

A  large  number  of  prints,  by  Messrs. 
G-ibbs,  London,  Blackburn,  Tashiera,  Wag- 
ner, and  Tyler  were  passed  around  for 
inspection. 

Mr.  Blackburn  exhibited  two  mounted, 
but  unburnished,  5x8  prints,  which  created 
considerable  discussion.  These  prints  were 
made  under  the  same  conditions  on  An- 
thony's ready  sensitized  paper.  Print  No. 
1  was  made  in  April,  and  No.  2  in  August 
of  this  year.  After  printing  (no  acid  or 
salt  being  used  in  the  washing  water)  the 
prints  were  thoroughly  washed  and  put  into 
a  fresh  "hypo"  solution  without  toning. 
After  fixing  they  were  washed  in  running 
water  for  several  hours  and  mounted.  Print 
No.  2  is  a  bright  brick  color,  as  was  print 
No.  1  when  first  made  ;  but  a  curious  change 
has  taken  place  in  this  print,  and  it  is  now 
of  a  rich  chocolate-brown  color.  There  has 
been  no  fading,  and  the  whites  are  absolutely 
pure,  the  whole  print  having  the  appear- 
ance of  a  proper,  though  rather  undertoned, 
picture. 

No  satisfactory  explanation  for  this  phe- 
nomenon could  be  suggested  by  any  of  the 
members,  though  Dr.  Passavant  thought 
^hat  the  paper  probably  contained  a  large 


proportion  of  citric  acid,  which  by  the 
action  of  the  "hypo"'  and  exposure  to 
light  had  changed  the  nitrate  into  citrate 
of  silver. 

The  prints  will  be  preserved  and  other 
experiments  made,  as  the  subject  is  cer- 
tainly worthy  of  investigation. 

Mr.  Partridge  exhibited  an  electric  light 
for  developing  from  the  Scovill  Manufac- 
turing Company.  The  light  worked  well, 
and  is  very  convenient,  especially  where  the 
dark-room  is  small  and  easily  heated. 

It  was  decided  to  establish  a  new  class  of 
members,  to  be  known  as  non-resident  mem- 
bers," with  annual  dues  fixed  at  $3  per 
year. 

On  motion  the  meeting  adjourned. 

W.  B.  Tyler, 

Cor.  Sec.  P.  C.  A.  P.  A. 
San  Francisco,  August  1,  1885. 


GLEANINGS. 


Our  foreign  exchanges  seem  to  think  that 
emulsion  paper  (gelatino-bromide),  which  is 
more  and  more  used,  especially  when  the 
light  is  weak,  may  one  day  take  the  place  of 
albuminized  paper,  on  account  of  the  ra- 
pidity of  its  work,  even  with  bad  light. 
According  to  Captain  Abney,  instead  of 
'printing  under  the  action  of  the  Tight,  as  is 
done  on  albuminized  paper,  it  will  become 
possible  to  develop  the  image,  after  a  very 
short  impression,  on  this  positive  emulsion 
paper. 

M.  Scamoni  has  made  known  that  by 
adding  a  little  acetic  acid  to  the  bichroma- 
tized  gelatine  he  was  able  to  obtain  on  the 
image  the  regular  grain  seen  on  the  photo- 
ink  prints  published  from  time  to  time  in 
the  Photographic  News.  Mr.  George  Brooks 
has  just  patented  a  process  in  which  the 
grain  evidently  depends  upon  the  tempera- 
ture, without  the  use  of  acetic  acid.  He  says 
that  the  plate  of  bichromatized  gelatine 
treated  with  bichromate  of  potash  (the  finer 
the  powder  the  finer  the  grain)  is  dried  at  a 
temperature  of  from  30°  to  70°  Centigrade, 
according  to  the  nature  of  the  grain  to  be 
obtained. 

As  much  has  been  written  about  the  pla- 
tinum process,  let  us  say  a  word  about  the 


308 


THE    PHILADELPHIA    PHOTOGRAPHER. 


ore  of  Eussia.  The  mines  are  situated  in  the 
Uralian  mountains  at  Bogoslowsk,  Minsk, 
and  in  a  few  other  places.  They  were  dis- 
covered in  1824  ;  and,  latterly,  one  hundred 
parts  of  the  sand  yielded  about  one  and  a  half 
parts  of  metallic  platinum.  This  last  is  sold, 
at  Paris  and  London  almost  exclusively,  at 
about  350  francs  per  pound.  The  crude 
metal  contains  many  other  substances.  An 
analysis  made  by  Le  Play  of  a  sample 
coming  from  Nischnci  Tagilsk,  gave  him: 
Platinum,  75.1;  palladium,  1.1;  rhodium, 
3.5;  iridium,  2.6;  osmiridium,  6  ;  osmium, 
2.3;  gold,  4;  copper,  1;  and  iron,  8.1  per 
cent.  The  other  localities  are  Brazil,  Colum- 
bia, San  Domingo,  Borneo,  and,  recently, 
North  Carolina,  and  Point  Oxford,  Cali- 
fornia, have  yielded  small  quantities.  For- 
merly the  Russian  mines  gave  only  from  1 
to  3  parts  of  metal  for  3700  of  sand. 

The  manufacture  of  bichromate  of  soda 
does  not  seem  to  be  entirely  free  from  diffi- 
culties, if  we  are  to  judge  from  a  patent 
recently  given  to  Messrs.  Carlile  &  Park, 
the  object  of  which  is  to  obtain  the  salt  in 
the  form  of  non-deliquescent  anhydrous  crys- 
tals. The  solution  is  concentrated  until  the 
hydrated  salt  melts  in  its  own  water;  it  is 
then  heated  by  steam  in  a  vessel  with  double 
bottom  and  sides,  and  furnished  with  a  me- 
chanical agitation.  The  steam  is  heated  to 
a  temperature  which  should  not  exceed  392° 
Pah. ;  the  fluid  is  constantly  agitated  until 


the  water  is  eliminated,  and  the  salt  forms 
a  mass  of  crystallized  anhydrous  grains. 

A  simple,  practical,  and,  consequently, 
important  discovery,  has  just  been  com- 
municated to  the  Chemical  Society  of  Lon- 
don, by  Mr.  E.  H.  Francis ;  it  relates  to  the 
action  of  nitric  acid  on  paper.  The  author 
found  that  by  plunging  filtering  paper  into 
nitric  acid  of  a  density  of  1.42,  then  wash- 
ing it  in  water,  this  paper  becomes  much 
stronger.  It  may  even  be  washed  and 
rubbed.  By  this  operation  it  has  not  lost  its 
porosity,  and  may  still  be  used  as  filtering 
paper.  A  strip  of  ordinary  filtering  paper 
one  inch  wide,  breaks  if,  when  held  by  the 
two  ends,  a  weight  of  from  three  to  five 
ounces  is  placed  in  the  middle ;  but  when 
treated  as  above  with  nitric  acid,  this  same 
paper  will  bear  about  three  pounds  and 
three-quarters  before  giving  way.  It  is  easy 
to  understand  that  a  paper  thus  treated  may 
find  many  applications,  but  it  is  possible 
that  this  treatment  may  render  it  very  in- 
flammable, to  which  the  author  does  not 
allude,  and  then  there  would  be  some  danger 
in  storing  it.  It  remains  to  be  seen  also  if, 
with  time,  paper  thus  treated  is  not  liable 
to  change.  The  parchment  paper  obtained 
by  means  of  monohydrated  sulphuric  acid, 
diluted  with  one-half  of  its  volume  of  water, 
is  no  longer  sufficiently  porous  for  filtration, 
although  it  is  used  as  a  membrane  in  dia- 
lyzers. 


We  have  to  run  extra  pages  again  this  month 
and  yet  matter  in  type  must  be  laid  over. 


After  Many  Days. — We  have  received  from 
Prof.  J.  H.  C.  Coffin,  U.  S.  N.,  Superintendent 
of  the  Nautical  Almanac,  Washington,  D.  C, 
a  copy  of  the  "  Reports  of  Observations  of  the 
Total  Eclipse  of  the  Sun,"  August  7,  1869.  It 
covers  160  pages,  accompanied  by  ten  full  page 
plates,  and  one  enlarged  photograph.  As  we 
stood  at  the  telescopic  camera  on  the  eventful 
occasion  named,  we  made  notes  of  what  we  saw, 
and  gave  our  readers  a  full  record  at  the  time, 
with  four  photographs.  The  Philadelphia  Pho- 
tographic Expedition  reports  cover  forty  pages 


of  the  work.  The  party  were  all  volunteers,  and 
are  all  yet  alive,  we  believe,  but  two,  Messrs. 
Willard  and  Kendall.  Prof.  Henry  Morton 
was  our  chief.  The  coming  of  the  report,  though 
late,  is  none  the  less  welcome,  and  verifies  the 
injunction,  "  Cast  thy  bread  upon  the  waters, 
for  thou  shalt  find  it  after  many  days." 

Mr.  A.  E.  Dumble,  Rochester,  N.  Y.,  has  fa- 
vored as  with  copies  of  that  recherche  picture  of 
a  Negro  Young  Miss,  that  gave  color  to  his  ex- 
hibit at  Buffalo.  Photographically,  it  is  beyond 
question  the  best  colored  picture  we  ever  saw, 
and  as  full  of  snap,  and  vim,  and  life,  and  na- 
ture as  it  can  well  be. 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


309 


A  good  offer  is  made  and  correspondence  so- 
licited by  Mr.  M.  P.  Brown,  Tecumseh,  Mich. 
This  might  be  seen  by  some  one  who  would  want 
just  such  a  place.  Gallery  and  residence  are  all 
on  the  ground  floor,  built  of  brick,  warmed  with 
a  furnace;  a  pleasant  and  attractive  home  and 
business  all  together.  If  you  are  looking  for  a 
location,  this  one  is  worthy  of  attention. 


The  P.  A.  of  A.  Constitution  is  a  queer  one. 
The  newly  elected  officers  cannot  serve  until 
January. 

Pictures  Received. — From  Mr.  B.  W.  Kil- 
burn,  Littleton,  N.  H.,  we  have  received  several 
views  of  the  track  of  the  great  avalanche  which 
took  place  near  Jefferson,  N.  H.,  in  July.  From 
Mr.  J.  Mitchell  Elliott,  Germantown,  Pa.,  an 
excellent  view  of  the  Exhibition  Hall  at  Buffalo, 
and  another  of  the  Natural  Bridge,  Virginia. 
The  former  is  very  satisfactory,  and  the  latter 
is,  we  think,  the  best  we  ever  saw  of  the  subject. 
Mr.  Mitchell  is  one  of  our  youngest  and  most 
enthusiastic  amateurs,  and  is  entitled  to  great 
credit  for  his  results.  Mr.  H.  McMichael, 
Buffalo,  N.  Y.,  has  favored  us  with  boudoir 
photographs  of  himself,  his  wife,  and  his  two 
children  (Master  Clarence  R.  and  Miss  Bea- 
trice), who  were  so  useful  and  such  favorites  at 
the  late  Convention.  Mr.  H.  P.  Eggert,  Beth- 
lehem, Pa.,  has  sent  us  the  best  Kitten  pictures 
of  the  season.  Miss  Maltie,  in  the  first  picture, 
is  looking  out  from  her  basket  at  some  flowers  ; 
in  the  second,  she  has  one  of  her  paws  upon  the 
flowers,  and  there  she  pauses — and  such  cat's 
eyes  we  never  saw,  so  full  of  diabolical  cuteness, 
and  so  sharply  caught.  The  pair  are  immense. 
From  one  of  our  East  India  subscribers,  Mr. 
Mersoo  Dewjee  Poopal,  Ahmednuggar,  India, 
we  have  received  a  roll  of  exceedingly  interest- 
ing pictures,  consisting  of  native  groups,  por- 
traits, views,  elephants,  and  a  likeness  of  him- 
self turbaned  for  his  work  in  the  atelier.  The 
quality  of  his  pictures  is  admirable,  and  would 
put  to  shame  some  of  the  "Cheap  Johns"  of 
America. 


Messrs.  A.  M.  Collins,  Son  &  Co.,  527  Arch 
Street,  Philadelphia,  have  just  issued  a  new  and 
neat  price  list  of  their  card  stock. 


A  Splendid  Catalogue. — The  most  unique 
and  beautiful  of  all  the  catalogues  has  just  been 
issued  by  the  Scovill  Manufacturing  Co.,  Mr. 
W.  Irving  Adams,  Agent,  New  York.  It  con- 
tains   190    pages    of  tastefully  printed    matter, 


elaborately  illustrated  with  engravings  of  almost 
every  piece  of  apparatus  known  in  the  art.  How 
photography  grows  is  more  marvellously  proven 
by  this  catalogue  than  in  any  other  way.  Few 
who  consult  it  will  ever  understand  the  amount 
of  labor  and  money  it  cost  to  produce,  and  yet 
every  photographer  will  find  it  most  useful. 


The  Novelties  Exhibition,  to  be  opened  in 
this  city  by  the  Franklin  Institute,  September 
15th,  will  afford  our  craft  an  excellent  opportu- 
nity of  showing  the  world  the  new  things  in  our 
art.  Circulars  and  copies  of  the  Bulletin  may 
be  had  on  application  to  the  Secretary,  south 
Seventh  Street,  Philadelphia. 


Mr.  Joseph  Zentmayer,  the  eminent  optician, 
has  removed  to  No.  201  South  Eleventh  Street, 
Philadelphia,  and,  besides  his  famed  lenses  and 
microscopes,  has  added  spectacles  and  eye  glasses 
to  his  manufactures. 


The  Blair  Tourograph  and  Dry-plate  Co., 
Boston,  desire  our  readers  all  to  notice  and  read 
the  changes  in  their  advertisement  on  our  cover 
this  month.  Their  reversible  back  camera  im- 
proved is  a  model  of  beauty.  It  attracted  a 
great  deal  of  attention  at  the  Buffalo  Conven- 
tion. The  "feather-weight"  holders  will  suit 
the  most  indolent,  and  please  those  ambitious  to 
carry  many  plates. 


A  Good  Word  for  the  P.  A.  of  A.  and  Com- 
pany.— Of  the  many  trade  associations  that  hold 
annual  conventions  there  is  none,  probably,  that 
is  more  practical  and  useful  to  its  members  than 
the  Photographers'  Association  of  America.  The 
members  generally  hold  their  summer  meetings 
in  some  city  offering  special  attractions  for  a 
holiday  jaunt,  but  they  settle  down  to  business 
promptly,  and  always  manage  to  have  an  ex- 
hibition of  pictures  and  papers  of  interest  to  the 
profession  to  be  read  and  discussed.  The  meet- 
ing of  this  year  was  held  at  Buffalo  last  month, 
and  papers  were  read  on  many  subjects  of  tech- 
nical interest.  These,  with  the  discussions,  are 
fully  reported  in  the  August  number  of  the 
Philadelphia  Photographer,  which  has  been 
enlarged  in  order  to  admit  the  large  amount  of 
matter  furnished  by  the  Association.  The  re- 
port occupies  fifty  closely  printed  pages,  and 
there  is  scarcely  a  line  in  it  that  does  not  re- 
late to  the  experiences  of  skilled  photographers 
in  the  manifold  operations  of  their  art.  The 
Photographer  for  this  month  contains  as  its 
illustration  an  admirable  portrait  study  by 
Gutekunst. —  The  Public  Ledger,  Philadelphia. 


21 


310 


THE    PHILADELPHIA    PHOTOGKAPHE  R. 


Voigtlander  Lenses. — Our  annual  conven- 
tions and  exhibitions  would  be  incomplete  if 
the  attendants  could  not  regale  themselves  with 
the  examination  of  the  world-famed  lenses  of 
Voigtlander,  and  hear  their  qualities  pro- 
nounced by  Mr.  W.  A.  French.  We  all  miss 
the  genial  face  of  his  father  now,  but  he  is  at- 
tending to  the  wants  of  the  craft  at  headquarters, 
all  the  same.  The  exhibit  this  year  was  fine, 
and  we  all  know  that  no  matter  how  many  other 
lenses  we  have,  we  must  have  one  or  more 
Voigtlanders  to  keep  steady.  Some  twenty-five 
euryscopes  were  ordered  by  one  house  lately. 


See  "Our  Picture"  this  month. 

Mr.  George  H.  Ripley  has  succeeded,  Mr. 
Rockwood  in  the  manufacture  of  the  "  Rock- 
wood  "  Dry  Plates,  and  asks  a  fair  trial  of  them. 
He  guarantees  every  plate.  261  West  Forty- 
third  Street,  N.  Y. 


Mr.  L.  C.  Overpeck,  Hamilton,  0.,  returned 
from  the  Convention  with  a  splendid  American 
Optical  Co.  camera,  which  he  had  on  exhibition 
with  the  first  camera  he  ever  used.  The  contrast 
was  wondrous — the  comparison  odious — for  the 
old  camera. 


Mr.  G.  Gennert,  54  East  Tenth  Street,  New 
York,  has  just  returned  from  Dresden,  where  he 
has  been  arranging  for  the  coming  year's  supply 
of  the  celebrated  brand  of  '•  Eagle  "  paper.  It 
has  had  a  wonderful  sale  in  this  country,  and 
the  demand  increases  steadily.  Somehow  we 
do  not  get  the  tones  secured  by  the  German 
photographers  who  exhibited  at  the  Buffalo 
Convention,  and  so  astonished  us  all,  but  we 
believe  it  will  be  done  on  the  "Eagle"  by  all 
who  know  how  to  try. 


A  fine  treat  ahead  for  our  subscribers,  namely, 
examples  of  work  as  "  Our  Picture  "  by  both  of 
the  German  photographers  who  took  the  prizes 
at  Buffalo.  The  first  series  will  appear  in  our 
October  issue.     They  will  arouse  a  sensation. 


Mosaics,  1886. — Hear  ye  !  all  good  and  would- 
be  useful  operators.  Your  pointed  and  practi- 
cal articles  for  1886  Mosaics  are  now  due.  Please 
send  them  early,  lest  you  be  crowded  out.  A 
free  bound  copy  to  all  contributors. 

N.  P.  A.  Paper. — More  than  the  passing  al- 
lusions given  to  it  monthly  in  "Our  Picture" 
are    due   to    this   admirable   brand  of   albumen 


paper.  Our  embellishments  speak  splendidly 
for  it,  and  especially  this  month,  with  the 
Stanley  plates  to  back  it.  All  we  can  add  is 
our  testimony  to  the  ease  with  which  the  paper 
is  worked.  We  have  had  to  print  the  immense 
quantity  needed  for  our  current  issue,  all  through 
the  hot  August  weather,  and  found  the  N.  P.  A. 
to  "  keep  "  most  satisfactorily.  All  dealers  have 
it  for  sale. 


Mr.  W.  G.  Entrekin's  two  pages  of  adver- 
tisements must  all  be  read  again  this  month. 

The  new  burnisher  is  a  jewel.  See  "Our 
Picture."  The  new  print-cutter  is  a  power  we 
have  all  devoutly  wished  for,  and  it  works  ex- 
actly. Any  dealer  can  show  you  these  useful 
tools. 


All. — In  one  issue,  by  adding  20  pages  to  our 
usual  quota,  we  give,  in  August  number,  to  our 
subscribers  first,  before  all  other  magazines,  the 
entire  proceedings  of  the  Buffalo  Convention, 
with  every  paper  read  there.  No  other  maga- 
zine does  this,  and  buyers  who  understand  the 
convenience  of  having  the  whole  thing  in  one 
volume  will  appreciate  our  efforts  in  their  be- 
half by  ordering  the  extra  copies  they  want 
soon.  A  few  only  left.  We  will  mail  copies  at 
50  cents  each.  Discussions  and  lectures  by 
such  men  as  Messrs.  Cramer,  Inglis,  Cooper, 
Mawdsley,  Carbutt,  Ryder,  Hdrd,  Ashman, 
Taylor,  Carlisle,  Wilson,  and  other  red  and 
orange  and  green  lights  in  our  art,  make  up  a 
very  valuable  volume. 


What  a  Pacificer  Thinks  of  Our  Magazine. 
— I  have  this  day  ordered  a  continuance  of  your 
Photographer  through  the  Scovill  Mfg.  Co., 
and  hope  it  will  reach  you  in  due  time.  I  see  you 
club  together  the  same  as  last  year,  so  sent  to 
them  this  time,  which  I  hope  is  correct. 

The  Photographer  is  an  ever  welcome  visitor, 
for  it  always  brings  us  something  new.  No  en- 
terprising photographer  can  afford  to  be  without 
it,  for  its  pages  are  full  of  information,  repaying 
the  cost  a  hundred  fold.  I  have  tried  the  "  New 
Friend,"  and  am  fully  satisfied  with  it,  and  use 
it  altogether. 

My  advice  to  the  "  Wet  Fogy  "  is  to  come  to 
the  "dry"  and  be  happy,  for    dry  plates    are, 
beyond  a  doubt,  the  photographers'  friend. 
Yours,  respectfully, 

Thomas  A.  Ley. 

Woodland,  Yolo  Co.,  Cal. 


The  Photographic  Society  of   Great    Britain 
opens  its  1885  Exhibition  October  3d. 


THE    PHILADELPHIA    PHOTOGRAPHER. 


311 


Pictures  Rkceived. — Mr.  H.  P.  Robinson,  of 
Tunbridge  Wells,  England,  has  sent  us  a  beau- 
tiful composition  picture,  which,  like  all  his 
work,  is  characterized  by  a  chaste  and  artistic 
presentation  of  the  subject.  The  question  has 
often  been  asked,  Why  do  we  see  so  few  compo- 
sition photographs?  Is  it  more  difficult  to  tell 
a  simple  story  by  the  aid  of  the  camera  and 
sensitive  plate  than  with  the  palette  and  the 
brush  ?  There  are  so  many  difficulties  attending 
the  conception  and  bodying  forth  of  a  story  or 
incident  that  few  are  willing  to  undertake  the 
task,  for  fear  their  attempts  may  be  roughly 
criticised  by  the  painter.  To  be  candid,  many 
of  the  attempts  deserve  no  better  fate.  The 
failure  springs  from  the  too  great  ambition  of 
the  photographer,  from  the  desire  to  do  some- 
thing which  belongs  solely  to  the  province  of  the 
painter,  and  to  which  photography  should  not 
aspire,  such  as  the  portrayal  of  passion  or  emo- 
tion, which,  from  the  intense  realism,  cannot 
help  becoming  sensational;  but,  for  the  repre- 
sentation of  simple  domestic  scenes  or  incidents 
of  every-day  life,  photography  can,  and  .has, 
produced  charming  results.  Indeed,  the  artistic 
ability  of  either  the  painter  or  photographer  is 
in  the  measure  of  his  manner  of  treatment  of 
simple  subjects.  The  most  familiar  domestic 
scene  becomes  ennobled  by  the  touch  of  true  art. 
Mr.  H.  P.  Robinson's  conceptions  are  always 
pervaded  with  that  refinement  of  feeling  which 
takes  actual  delight  in  what  it  portrays,  and  the 
feeling  which  it  engenders  is  contagious.  There 
is  such  an  utter  freedom  from  all  affectation,  a 
charming,  natural  simplicity  in  the  arrangement 
of  the  parts  which  seems  independent  of  rule,  but 
never  violates  any  established  principle  of  art, 
because  their  principles  are  the  ministers  to 
effect,  not  its  rulers.  Mr.  Robinson  never  aston- 
ishes us  by  any  novelty  in  presentation.  All 
that  he  gives  seems  to  be  actual  transcripts  from 
nature.  It  is  only  when  we  study  the  individual 
parts  that  we  are  convinced  that  nothing  is  in- 
troduced which  does  not  add  to  the  general  ef- 
fect, and  that  all  the  parts  harmonize  to  produce 
a  pleasant  impression.  The  picture  which  he 
has  had  the  kindness  to  send  us  is  20  x  24  inches 
in  size,  entitled,  "  Hope  Deferred."  It  repre- 
sents a  scene  in  an  old-fashioned  kitchen.  A 
roguish  boy,  full  of  life  and  spirits,  is  seated 
upon  a  stool  in  a  way  in  which  nobody  but  a 
boy  would  sit;  in  front  of  him  stands  a  dog, 
eager  to  secure  the  piece  of  bacon  which  is  held 
out  to  him  in  a  tantalizing  manner;  expectancy 
is  in  the  very  attitude  of  the  animal.  The  ar- 
rangement of  the  light  and  shade  in  this  picture 
is  superb.     The  principal  light  comes  in  from  a 


window,  illuminating  a  number  of  flowers  in 
pots  upon  the  sill  and  table  in  front.  Glinting 
off  from  the  edge  of  the  table,  it  strikes  with  a 
beautiful  softness  upon  the  face  of  the  .boy  and 
the  fur  of  the  dog,  lighting  up  the  old  stone 
mantelpiece  and  the  fringe  of  the  hangings  on 
the  shelf  above,  blending  softly  until  the  dark 
portions  of  the  room  are  lost  in  the  deep  shadows. 
We  do  not  remember  having  seen  any  photo- 
graph in  which  the  contrasts  of  lights  and 
shadows  are  more  beautifully  managed.  The 
whole  picture  is  upon  a  single  plate,  and  not  a 
combination  photograph.  We  have  received 
from  E.  B.  Luce  Hinckley,  Illinois,  a  number 
of  cabinet  and  card  pictures,  well  lighted  and  of 
excellent  finish.  Mr.  A.  W.  Manning,  Medina, 
Mo.,  sends  us  a  curious  photograph  of  a  flash  of 
lightning.  It  is  the  best  of  the  kind  we  have 
seen. 


We  are  always  gratified  to  know  that  our  labors 
to  secure  for  the  profession  the  most  valuable 
photographic  literature  in  the  pages  of  our 
journal  are  appreciated  and  acknowledged.  Our 
journal  travels  all  over  the  world,  and  wherever 
it  goes  it  is  a  welcome  friend,  which  encourages 
us  in  our  endeavors  to  keep  it  up  to  the  high 
standard  it  has  attained.  We  quote  a  portion 
of  a  business  letter  from  Mr.  J.  R.  Hanna,  of 
Aukland,  New  Zealand  : 

Mr.  Wilson. 

Dear  Sir  :  Many  thanks  for  your  promptness 
in  replying  to  my  queries.  ...  I  am  pleased 
to  be  able  to  inform  you  that  I  get  the  Photog- 
rapher regularly.  It  is  all  you  claim  for  it : 
in  fact,  it  is  the  best  publication  out.  There  is 
only  one  drawback,  and  that  is  no  fault  of  yours  : 
the  very  fine  specimens  of  photography  it  con- 
tains get  much  broken  coming  through  the  post. 
Yours,  truly, 

J.  R.  Hanna. 

Not  only  "shores  afar,  remote"  appreciate  the 
high  character  of  our  journal,  but  we  are  also 
honored  in  our  own  country  and  amongst  our 
own  people.  The  Philadelphia  Public  Ledger 
writes  : 

The  Philadelphia  Photographer  for  July, 
published  by  Edward  L.  Wilson,  has  for  its  illus- 
tration a  picture  of  Horticultural  Hall,  at  the 
New  Orleans  Exhibition,  taken  by  the  electric 
light.  It  is  a  weird  and  beautiful  scene,  some- 
what marred,  however,  by  the  sunlike  electric 
lights  blotting  out  portions  of  the  picture.  Each 
lamp  has  a  halo  of  light  around  the  glass  globe, 
but  the  most  curious  feature  is  a  black  dot  in 


312 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


the  centre,  where  one  would  look  for  the  highest 
light.  The  intensity  of  the  light  there  centred 
has  produced  a  positive  upon  the  glass,  instead 
of  a  negative.  The  magazine  is  full  of  good 
and  useful  reading  matter,  including  a  further 
account   of  the   photographic   exhibits  at  New 

Orleans.  

The  Photography  of  Colored  Objects  in  the 
right  proportions  of  their  colors  or  tone  value, 
and  Manual  of  the  Color  Sensitive  [isochromatic 
or  orthochromatie)  Process. — Of  late  years  there 
has  been  a  revolution  in  photography,  brought 
about  by  the  stimulus  which  Dr.  Vogel  gave  by 
the  discovery,  in  the  year  1873,  of  the  fact  that 
the  addition  of  dyes  to  bromide  of  silver  made 
it  sensitive  to  green,  yellow,  and  red  rays  of 
light.  These  experiments,  and  others  which  the 
Doctor  has  since  made,  have  been  confirmed  by 
other  experimentalists,  so  that  productions  from 
oil  paintings  and  from  highly  illuminated 
prints,  the  work  of  Dr.  Vogel,  Eder,  Ives,  and 
others,  which  have  been  forwarded  to  us,  pre- 
sent in  a  wonderful  manner  the  gradation  of 
tints  of  those  colors  which  by  the  old  process 
impressed  themselves  in  one  uniformly  dark 
tint  without  shade  or  variety.  It  is  therefore 
with  pleasure  that  we  can  recommend  the  new 
work  by  Dr.  Vogel  upon  this  very  important 
subject.  Many  celebrated  photographic  estab- 
lishments in  Germany  and  Austria  have  adopted 
the  new  process,  and  are  making  grand  results. 
Dr.  Vogel's  work  is  written  in  his  usual  clear 
and  practical  style,  and  bears  upon  every  page 
the  evidence  of  careful  and  earnest  study  and 
investigation.  The  principles  from  which  the 
process  is  evolved  are  first  laid  down,  and  the 
deficiency  of  the  old  method  stated.  A  descrip- 
tion of  the  various  instruments  is  next  given 
for  the  study  of  color  sensitive  films.  Experi- 
ments with  various  dye-stuffs,  together  with 
recipes,  follow:  eosine,  of  necessity,  receiving  a 
special  notice.  The  wet  and  dry  method  of  the 
color  sensitive  process  are  explained,  and  methods 
for  practical  application.  The  whole  work  is 
especially  valuable  at  this  time,  and  will  be  read 
with  interest  by  every  one  who  is  anxious  to 
know  the  progress  which  has  been  made  in  this 
new  departure.  The  book  contains  a  chromo 
lithograph,  and  reproduction  by  the  old  process 
and  by  the  new.  A  glance  at  the  latter  will 
convince  any  one  of  the  importance  of  the  step 
which  isochromatic  photography  has  made,  The 
book  is  published  in  German  by  Robert  Open- 
heim,  in  Berlin. 


gold  medal,  the  highest  award  of  the  Interna- 
tional Inventions  Exhibition  at  London  for  their 
display  of  photographic  negative  paper  and 
roll  holders.  The  photographs  were  from  the 
paper  negatives,  by  Mr.  J.  H.  Kent,  shown  at 
Buffalo.  This  disposes  of  the  question  as  to 
these  inventions  being  new. 


A    Question    Settled. — The    Eastman    Dry 
Plate  and   Film  Company  have   been   given   a 


Books  Received. — Dr.  H.  W.  Vogel,  whose 
great  and  important  discoveries  in  isochromatic 
photography  are  at  present  exciting  the  atten- 
tion of  the  artistic  and  scientific  world,  has 
favored  us  with  the  results  of  his  labors  in  the 
shape  of  a  book  of  150  pages,  entitled,  Die 
Photographic  Farbiger  Gegenstiimde  in  den  rich- 
tigen  Fanverhliltnissen  und  Hnndbuch  der  farben- 
empfindliehen  (isochromatisehen  oder  arthochro- 
matischen)  Verfahren.  No.  3  of  The  Camera, 
Field,  and  Book,  devoted  to  photography  and 
studies  of  nature,  published  at  Bristolville,  Ohio, 
contains  a  number  of  well-written  articles,  and 
is  altogether  an  excellently  conducted  magazine. 
It  is  the  intention  of  the  editors  and  publishers 
to  enlarge  its  size.     We  predict  its  success. 

A  Family  of  Lightning  Streaks. — Mr.  W. 
N.  Jennings,  of  this  city  has  caught  not  only 
one  streak,  but  a  fearful  one,  with  a  family  of 
smaller  ones  emerging  from  it  at  an  angle  down- 
wards like  the  tributaries  of  a  river.  This  sky- 
serpent  was  caught  at  10.30  p.m.,  August  1st, 
after  many  trials.  It  was  Jersey  lightning, 
strong  enough  to  illuminate  the  housetops  also 
well  gathered  in.     Very  marvellous. 

Scovill  Manufacturing  Co.,  New  York,  are 
not  forgotten  by  the  members  of  the  P.  A.  of  A. 
for  the  beautiful  emblematic  gilt  badge  pre- 
sented to  each  due-payer,  are  they  ?  We  turn 
to  thank  them  for  it  and  for  the  "  Times"  Match 
Box. 

The  English  photographic  journals  copy  the 
Convention  papers.  The  British  gives  them 
entire.  The  News — we  don't  know  what  you 
call  it. 

A  Good  Example. — Mr.  J.  F.  Ryder,  Cleve- 
land, 0.,  permits — nay  asks  us  to  say,  that  much 
of  the  excellence  of  his  Convention  Exhibit 
was  due  to  the  skill  and  interest  of  his  portrait 
operator,  Mr.  R.  P.  Bellsmith,  and  his  outdoor 
operator,  Mr.  W.  J.  White,  both  of  whom  were 
at  the  Convention. 


MAKE  OCT  YOUR  OWN  BILL.,  and  remit  cash  with  your  advertisements,  or  they  will  not  be 
inserted. 

ADVERTISING  RATES  FOR  SPECIALTIES — Six  lines,  one  insertion,  $2.00,  and  25  cents  for 
each  additional  line,  seven  words  to  a  line — in  advance.  Operators  desiring  situations ,  no  charge.  Mattel 
must  be  received  by  the  23d  to  secure  insertion.  Advertisers  will  please  not  ask  us  for  recommendations. 
4®=  We  cannot  undertake  to  mail  answers  to  parties  who  advertise.  Please  always  add  your  address  to  the 
advertisement.     Postage-stamps  taken. 


SEAVBY'S  NEW  YORK  NOVELTIES. 
Fall  Season. 

Our  small  size  (6  ft.  x  8  ft.)  interior  and 
exterior  backgrounds  for  full  and  f  lengths, 
at  from  $9.60  to  $14.40,  have  struck  the 
popular  taste. 

They  are  new  in  design,  quiet  in  tone, 
first  class,  and  different  from  any  before 
offered. 

For  further  description,  see  last  month's 
advertisement.     Send  for  samples.     For  the 
fall  season,  orders  should  be  given  now. 
Lafayette  W.  Seatey, 
216  E.  Ninth  St.,  N.  Y. 


For  Sale — Gallery  in  the  town  of  Warrenton, 
Va.,  county  seat  of  Fauquier  County.  Popula- 
tion, 1600.     No  opposition.     Address 

Otis  Barker, 
Warrenton,  Va. 


Wanted. — The  address  of  Piatt  Bros.,  formerly 
at  1126  12th  St.,  Washington,  D.  C. 

C.  H.  Schofield, 

Utica,  N.  Y. 


Wanted. — A  good,  wide-awake  photographer, 
to  take  half  interest  in  a  well  paying  gallery. 
Good  references  required  and  given.  For  par- 
ticulars, address  A.  H.  Noyes, 

Jefferson,  Wis. 


Address  T.  W.  Power,  N.  Y.,  Secretary  of 
Association  of  Operative  Photographers  of  New 
Vork  City,  for  operators,  printers,  and  re- 
touchers  392  Bowery,  or  4S7  Eighth  Avenue. 


E0CKI00D  SOLAR  PRINTING  CO. 

17  Union  Square,  New  York. 

TIME. — It  is  our  intention  that  every  order 
received  in  the  morning's  mail  (when  not  to  be 
put  on  stretchers)  shall  leave  this  establishment 
the  same  day  or  the  following  morning.  If  too 
late  for  the  morning  work,  it  is  sent  on  the  sec- 
ond day.  Having  our  own  engine  and  electric 
light,  we  are  not  at  all  dependent  on  the  weather. 
GEORGE  H.  ROCKWOOD, 
Business  Manager. 


W.  F.  ASHE 

ARTISTIC    BACKGROUNDS 

AND 

ACCESSORIES, 

REMOVED  TO  68  WEST  FOURTH  ST., 
4  Blocks  West  of  Broadway,  N.  Y. 

My  new  studio  is  fitted  up  with  all  the  mod- 
ern improvements,  and  the  most  refined  demands 
from  a  critical  public  can  be  satisfied.  A  visit 
to  my  establishment,  which  has  the  largest' 
showroom,  containing  the  greatest  amount  of 
stock  of  any  place  in  the  world,  will  be  grate- 
fully appreciated. 

I  have  again  added  numerous  new  designs  to 
my  great  variety  of  patterns  for  backgrounds 
and  accessories,  and  keep  also  in  stock  a  large 
quantity  of  goods  for  parties  to  select  from, 
saving  time  and  delay  on  orders. 


306 


THE  PHILADELPHIA  PHOTOGEAPHEK. 


WILSON'S  PHOTOGRAPHIC S. 

$4.00  $400 

The  Best. 


I.ook  into  it  for  anything  yon  want ;  yon 
are  pretty  sure  to  find  it.    The  Pho- 
tographers' Encyclopedia. 


Wanted. — A  first-class  operator,  who  can  work 
wet  and  dry  plates  and  retouch  negatives.  A 
young  man  preferred,  and  permanent  situation, 
at  C.  D.  Mosher's 

Art  Gallery,  125  State  St., 
Chicago,  111. 


METAL  GUIDES 

FOR 

A.  M.  COLLINS,  SON  &  CO.'S 
No.  26  Gilt  Bevelled-edge  Cards. 

The  fancy-shaped  mounts  now  so  fashionable 
among  photographers,  require  metal  guides  with 
which  to  cut  the  photographs.  They  are  now 
kept  on  hand,  and  can  be  supplied  in  the  follow- 
ing shapes,  and  at  the  prices  mentioned  : 

Each. 

Cross $1  05 

star 1  00 

Palette 90 

Leaf 90 

Bell  '.'.'.'.'.'..'.  90 

Crescent 80 

ESS 50 

Triangle $$ 

For  sale  by  Edward  L.  Wilson, 

1125  Chestnut  Street, 

Philadelphia,  Pa. 


KUHN'S 
Sensitized  Paper,  Stretcher,  and  Dryer. 

|||This  simple  arrangement  cannot  but  commend 
itself  to  every  practical  photographer.  Paper 
dried  in  this  manner  lays  perfectly  flat,  and 
therefore  better  prints  can  be  made,  and  you 
can  also  cut  your  paper  either  lengthwise  or 
crosswise  of  the  sheet,  as  it  neither  stretches  nor 
shrinks  afterwards.  In  addition  to  all  the  above 
advantages,  the  paper  is  much  more  easily 
handled  than  in  any  other  way  ;  in  fact,  it  is  no 
trouble  at  all.  The  Stretchers  are  made  in  two 
sizes,  for  whole  or  half  sheets.     See  circular. 

Price,  either  size,  each  $1.50.     For  sale  by  all 
dealers. 

H.  A.  Hyatt,  Trade  Agent,  Dealer  in 

Photographic  Goods  of  every  Description. 
8th  and  Locust  Sts.,  St.  Louis,  Mo. 


WILSON'S  PHOTOGRAPHIOS 

Teaches  how  to  get  rid.  of  every  monster 
and  trouble  in  the  practice  of  the  art. 

$4.00  — $4.00 

M.  "WERNER, 

PORTRAIT    ARTIST, 

No.  102  N.  Tenth  Street,  Philadelphia. 

Photographs  finished  in  crayon,  India  ink, 
water  colors,  and  pastel,  in  all  sizes,  in  the  very 
best  styles,  and  at  moderate  prices. 

Solar  Prints  and  Enlargements  Fnrnished, 


Every  photographer  in  want  of  excellent 
lenses,  for  any  jmrpose,  will  best  serve  his  interest 
by  consulting  the  new  illustrated  price-list  of 
Messrs.  Benjamin  French  &  Co.  before  pur- 
chasing. 


THE    PHILADELPHIA    PHOTOGRAPHER. 


307 


VOGEL'S 

Photographic  Progress. 

$300  $300 

347  Pages. 


A  word  for  all,  and.  you  never  sliut-ter 
without  learning  something  useful. 

KUHN'S 
Lightning  Intensifier  for  Dry  Plates. 

Owing  to  the  great  rapidity  of  Dry  Plates,  it 
often  happens  that  the  negatives  made  are  either 
over-  or  underexposed,  and  it  becomes  necessary, 
as  with  the  wet  process,  to  strengthen  them,  in 
order  to  get  good  results.  It  is  usually  done 
with  bichloride  of  mercury  and  iodide  of  potas- 
sium. But  this  has  serious  drawbacks,  as  plates 
intensified  by  this  method  require  a  great  deal 
of  washing,  and,  after  printing  a  quantity  of 
pictures  from  such  a  negative,  it  will  not  retain 
its  original  color,  but  turns  yellow,  and  then  a 
good  print  cannot  be  obtained.  This  Lightning 
Intensifier,  when  applied,  gives  a  beautiful  blue 
or  cherry  color  to  the  negative,  and  has  the  fol- 
lowing advantages :  It  stands  the  light,  and 
keeps  its  original  color ;  admits  the  light  through 
and  prints  beautifully.  Besides  this,  it  can  be 
applied  on  any  part  of  the  Plate  to  lighten  the 
deep  shadows,  etc.,  by  applying  with  a  soft 
camel's  hair  brush.  In  fact,  the  finest  results 
from  under-  or  overexposed  negatives  are  ob- 
tained if  these  solutions  are  used  as  directed. 
The  solutions  are  very  concentrated,  and  are  put 
up  in  two  bottles  containing  two  ounces  each, 
and,  when  diluted  to  proper  strength,  each  bottle 
makes  sixteen  ounces  of  solution,  or  it  can  be 
used  in  the  more  concentrated  form  if  required. 

For  sale  by  all  dealers. 

H.  A.  Hyatt,  Trade  Agent,  Dealer  in 
Photographic  Goods  of  every  Description. 
8th  and  Locust  Sts.,  St.  Louis,  Mo. 


List  of  Articles  for  Sale  and  Prices  for 
Same. — All  cameras  in  list  are  American  Optical 
Company's  best  quality.  Used  by  Edward  L. 
Wilson  at  the  New  Orleans  Exhibition  : 

Each. 
1  14  x  17  D.  S.  B.  Revolving   Camera 

Box,  back  focus        ...        $60  00 
1  10  x  12  D.  S.  B.   Revolving   Camera 

Box,  back  focus      .         .         .         .  42  00 
15x8  Stereo 18  00 

1  Hinged  Tripod 

4  14  x  17  New  Style  Plate  Holder,  extra 

30    15  x  8        "  "  " 

2  14  x  17  Flat  Printing  Frames     . 
6  10x12  "  " 

14    8  x  10  "  " 

100    5x8  "  "      $45  per  100 

12  Drying  Racks     .... 
1  pair    6    inch    Morrison    Wide-Angle 

View  Lenses   .... 
1  pair    8    inch    Morrison    Wide-Angh 

View  Lenses   .... 

1  pair  10    inch   Morrison    Wide-Angle 

View  Lenses  .... 


40  00 


24  00 


32  00 

Cash.     All  guaranteed  in  good  order. 
Address  Edward  L.  Wilson, 

1125  Chestnut  Street, 

Philadelphia,  Pa. 


THE  STANLEY  PLATES. 

Chicago,  May  30,  1885. 
Messrs.  E.  &  H.  T.  Anthony  &  Co. 

Gentlemen:  I  have  tried  the  Stanley  Plate 
you  sent  me  lately,  and  I  am  quite  satisfied  that 
it  is  as  good  a  plate  as  I  could  wish  for,  working 
quick,  clear,  with  fine  details  and  beautiful 
roundness  of  image.  I  tried  different  developers 
on  them,  but  find  the  pyro  and  potash  to  give 
the  most  satisfactory  results. 

Yours  truly,  H.  Rocher. 

New  York,  Juue  8,  1885. 
Messrs.  E.  &  H.  T.  Anthony  &  Co. 

My  Dear  Sirs  :  The  four  dozen  Stanley  Plates 
I  had  from  you  last  week  were  all  that  could  be 
desired — rapid,  intense,  and  with  not  the  slight- 
est disposition  to  fog.  For  instantaneous  ex- 
posures of  steamers  under  full  headway,  I  gave 
1-50  of  a  second;  for  reproductions  by  gaslight, 
5  seconds;  for  ordinary  negatives,  15  feet  dis- 
tant from  a  common  gas-burner,  and  the  contrast 
of  the  pure  white  and  black  is  remarkable.  I 
am,  very  truly  yours, 

J.  J.  HlGGINS,  M.D., 

23  Beekman  Place. 


308 


THE    PHILADELPHIA    PHOTOGRAPHER. 


Photograph  Gallery  for  Sale.  —  $800. 
Easy  terms.  Best  opening  in  the  West.  Fine 
trade  and  prices.  No  competition  for  100  miles. 
Population  4000.  Statistics  show  it  to  be  the 
most  healthy  place  in  the  United  States.  Must 
be  sold  immediately.     Address 

E.  A.  Bass, 
Socorro,  New  Mexico. 


SITUATIONS   WANTED. 

No  charge  for  advertisements  uyider  this  head  ;  limited 
to  four  lines.     Inserted  once  only,  unless  by  request. 

An  experienced  operator  in  all  branches,  also 
printer  and  retoucher,  wants  permanent  situa- 
tion. 20  years  in  the  business.  Address  Pho- 
tographer, care  of  Bland,  42  Third  Ave.,  N.  Y. 

By  a  first-class  photographer  and  artist,  to 
rent  or  to  run  a  gallery  on  shares.  Address 
Schlickeisen,  950  Summit  Avenue,  Jersey  City, 
N.J. 

By  a  competent  young  man  in  silver  and  chro- 
motype printing;  artotype  process  a  specialty. 
Have  had  control  of  above  branches  in  one  of 
the  leading  galleries  of  the  West.  Can  give  the 
best  of  reference.  Address  J.  B.  J.,  1015  8th 
St.,  Louisville,  Ky. 

As  operator.  Can  also  retouch  and  print. 
None  but  first-class  galleries  need  apply.  Ad- 
dress J.  W.  Weisel,  1343  Poplar  St.,  Philada. 

As  printer.  Address  L.  Baggiano,  Philadel- 
phia Post-office. 

As  operator  or  printer.  First-class.  Address 
Frank  A.  Rowsell,  care  of  Box  192,  Alexandria 
Bay,  N.  Y. 

As  first-class  retoucher  and  crayon  artist. 
Formerly  with  Mora,  New  York.  Name  salary. 
Address  Louis  Saumell,  627  F  St.  N.  W.,  Wash- 
ington, D.  C. 

At  retouching.  Have  been  retouching  for 
nearly  three  years.  Address  M.  E.  Ball,  123 
Otis  Street,  East  Cambridge,  Mass. 

A  first-class  retoucher  and  operator  open  for 
engagement.  Address  J.  M.  C ,  Philadelphia 
Photographer. 

As  printer  and  toner  in  some  first-class  rooms. 
Had  15  years'  experience.  Samples  of  work 
sent  on  application.  Address  H.  D.  Moulton, 
Fitchburg,  Mass. 

By  a  young  lady  in  a  photograph  gallery. 
Can  retouch,  mount,  and  finish  prints.  Address 
Mary  White,  Elmira,  N.  Y. 


In  a  first-class  gallery,  by  a  young  married 
man,  who  has  had  several  years'  experience  in 
the  photograph  business,  and  who  is  competent 
to  take  hold  of  any  of  its  several  branches. 
Operating  preferred.  Address  R.  T.  Phillips, 
Cape  May,  N.  J. 

By  a  sober  and  energetic  young  man.  Under- 
stands all  branches  thoroughly.  Been  operating 
five  years.  Am  not  afraid  to  work.  Address 
Lock  Box  22,  Greencastle,  Franklin  Co.,  Pa. 

As  operator  or  retoucher  in  first-class  gallery, 
from  October  1st  to  May  15.  Competent  and 
thoroughly  reliable.  No.  1  reference  given. 
Philadelphia  or  Washington  preferred.  Corre- 
spondence solicited.  Address  R.  A.  S.,  Great- 
Neck,  L.  I.,  N.  Y.,  care  of  Chas.  Weede,  Oriental 
Grove. 

By  a  photographer  of  long  experience,  as 
operator  in  a  first-class  gallery.  Address  Pho- 
tographer, 1120  6th  Street,  N.  W.,  Washington, 
D.  C. 

By  a  first-class  printer  and  retoucher.  Some 
experience  in  operating.  Can  work  dry  or  wet 
plates.  Address  B.  P.  Rief,  207  E.  7th  Street, 
Erie,  Pa. 

By  a  young  lady  of  experience,  as  retoucher. 
Can  attend  reception-room  or  assist  in  finishing 
photos.  Address  Miss  Alice  Winslow,  Box  119, 
Huntington,  Mass. 

As  retoucher.  Can  do  any  work  in  the  gal- 
lery. Will  work  for  reasonable  wages.  Address 
Leon  Allekolisk,  Berea,  Ohio. 

As  general  assistant  in  good  gallery.  Cannot 
retouch.  Address  0.  K.,  care  of  Philadelphia 
Photographer. 

By  a  young  man,  thoroughly  competent  in  all 
branches  of  the  business.  A  good,  permanent 
position.  Wages,  fair  with  the  times.  Would 
rent  or  run  a  gallery  on  shares.  Address  Fred. 
A.  Garrison,  Three  Rivers,  Mich. 

In  a  first-class  gallery  as  a  first-class  retoucher. 
Address  Charles  W.  Price,  744  East  Main  St., 
Lexington,  Ky. 

In  a  good  gallery,  in  central  Illinois,  as  printer 
or  toner,  one  year's  experience,  with  chance  to 
advance.  Address  E.  E.  Robertson,  331  S. 
Adams  St.,  Peoria,  111. 

As  an  assistant  in  a  good  gallery.  Can  print, 
tone,  and  operate;  also  do  the  dark  room  work 
on  wet  plates.  Speak  English  and  German. 
First-class  references.  Address  J.  W.  Binder, 
P.  0.  Box  462,  Pottstown,  Pa. 

By  a  lady,  to  retouch  and  attend  reception- 
room.  Samples  sent,  or  will  retouch  negatives. 
Address  Mary  Gilbert,  Jamestown,  N.  Y. 


THE    PHILADELPHIA    PHOTOGRAPHED 


309 


TO  GET  A  PICTURE  EVERY  TIME,  USE 

THE  MWDSLEY-DUMONT  DRY  PLATE. 

Made  by  the  Oldest  Dry-Plate  Maker  in  the  United  States. 

Rapid,  Brilliant,  Clean,  Uniform,  and  of  the  Finest  Printing  Quality. 
No  Danger  of  Fog  from  Mat. 

RED  LABEL  SHOWS  TWENTY-FIVE  WARNECKE 

WHITE  LABEL  SHOWS  TWENTY  WARNECKE. 

BLUE    LABEL     GELATINO-ALBUMEN    TRANSPARENCY    PLATE. 

EVERY  EMULSION  GUARANTEED.  COATED  ON  BEST  ENGLISH  GLASS. 


LOOK  AT  OUR  PRICES 


3^  x  4#, 
4x5, 

41/  x  6%, 
5x7, 
5x8, 

6K  x  sy2, 


Red  or  Blue 

White 

Label 

Label. 

.    $0  45 

$0  45 

65 

60 

75 

70 

90 

85 

1  10 

1  00 

.       1  25 

1  15 

1  65 

1  60 

Red  or  Blue 
Label. 

8  x  10, 2  40 

10  x  12, 3  80 

11x14, 5  00 

14  x  17, 9  00 

16x20 12  50 

17x20, 13  50 

18x22, 15  50 


White 
Label . 

2  30 

3  65 

4  75 
8  75 

12  00 

13  00 
15  00 


FOR     SALE     BY     ALL     DEALERS. 


Buchanan,  Smedley  &  Bromley,  sole  Agents  tor  pniiada. 


MANUFACTURED  BY 

THE  MAWDSLEY-DUMONT  DRY  PLATE  CO. 


ROCHESTER,  N.  Y. 


The  PHOTOGRAPHIC  COLORISTS'  6UIDE 

By  the  late  JOHN  L.  GIHON. 


PHOTOGRAPHIC  COLORING.— The  growing  demand  for  a  fresh  work  on 
Photographic  Coloring,  one  that  contains  full  instructions  on  all  the  new  and  improved 
methods — for,  like  Photography  itself,  Photo.  Coloring  has  improved  and  progressed— has 
led  to  the  publication  of  the  same. 

A  Tremendous  Demand  for  the  Book  continues.     Read  what  it  contains. 


Preface. 


Chap.  V.  Relative  to  the  Use  of  Paints  that 
are  Mixed  with  Oil. 
Coloring  with  Pastels. 
The  Production  of  Ivorytypes. 
The  Crystal  Ivorytype. 
Crayon  "Work. 
Negative  Retouching. 
About  Matters  so  far  Forgotten. 
Rudimentary  Perspective. 

ggg^The  last  chapter  is  on  a  subject  entirely  new  and  fresh,  and  is  finely  illustrated. 


Chap.  I.  On  India-ink  "Work. 

II.  The  Principles  to  be  Considered 
in  the  Application  of  Colors. 

III.  The  Materials  used  in  Finishing 

Photographs  with  "Water  Colors. 

IV.  "Water-color  Painting  as  Applied 

to  Photographs. 


VI. 

VII. 

VIII. 

IX. 

X. 

XI. 

XII. 


Mailed  on  receipt  of  price,  $1.50  per  copy. 
EDWARD  L.  WILSON,  Photo.  Publisher,  1125  Chestnut  Street,  Philada. 


310 


THE    PHILADELPHIA    PHOTOGRAPHER. 


Beck's  Autograph  Rectilinear  Lenses. 


These  extraordinary  lenses  at- 
tracted universal  attention  at  the 
late  Buffalo  Convention  ;  the  speci- 
mens of  work  in  Portraiture, 
Groups,  Landscapes,  Instantaneous 
Views,  etc.,  executed  by  them  being 
of  unequalled  excellence.  A  life- 
sized  head,  made  with  the  8  x  10 
lens  of  13  inches  focus,  was  con- 
sidered by  the  experts  present,  as 
being  far  ahead  of  any  similar  per- 
formance ever  seen.  A  full  de- 
scription of  these  and  our  other 
specialties  will  be  found  in  our  full 
catalogue.     Mailed  Free. 


W.  H  WALMSLBY  &  CO., 

Photographic  Stockdealers.  1016  Chestnut  St.,  Phila.,  Pa. 


THE    STAR.   ID 


LATEJS. 


3%  x  4^  size,  per  dozen,     .         .  .         .         .     $o  40 

4x5 

4#  x  -  y2 

4%  x  ty2 
5x7 
5x8 

6^x8^ 
8  x  io 


10  x  12  size,  per  dozen 

1 1  x  14  »  » 
14  x  17  n  » 
16  x  20  »     » 


S3  35 
4  50 
6  75 

10  75 

12  OO 
14  OO 

18  OO 


BUCHANAN,  SMEDLEY  &  BROMLEY,  Sole  Philadelphia  Agents, 


No.  25  North  Seventh  Street. 


THE  PLAT1NOTYPE,  Patented,     Send  ten  cents  for  instructions  and  sample,  portrait  or  landscape. 

WILLIS  &  CLEMENTS,  No.  25  North  Seventh  Street,  Philadelphia,  Pa. 

BUCHANAN,  SMEDLEY  &  BROMLEY, 
GENERAL   AGENTS    FOB    THE    SALE    OF    MATERIALS. 


THE   PHILADELPHIA   PHOTOGBAPHEK. 


311 


GAYTON  A.  DOUGLASS. 


HENRY  G.  THOMPSON. 


Douglass,  Thompson  &  Co. 

229  &  231  State  St,  Chicago,  111. 

MERCHANTS  IN  SUPPLIES  POE  THE 

Art-Soienoe  of  Plaotograpliy 

Photographers'  Booksellers,  Stationers,  and  Newsdealers. 

CARBUTT'S 

Keystone  Dry  Plates 

AND  PHOTOGRAPHIC  SPECIALTIES. 

Specials  for  Portraiture. 

A.  for  Transparencies. 

B.  for  Landscapes  and  General  Pho- 
tography. 


OPAL    PLATES,  Gelatino-Albumen  or  Gelatino- 
Ohlorides,  for  Positives  and  Transparencies. 


Multum  in  Parvo  Dry-Plate  Lantern. 

Carbutt's  Pyro.  and  Potash  Developer,  Concentrated, 

Two  8oz.  bottles  75  cents. 

Kuby  Paper  and  Negative  Varnish., 

FOR  SALE  BY  ALL  DEALERS. 

JOHN  CARBUTT,  Keystone  Dry-Plate  Works, 

Wayne  Junction,  Philadelphia,  Pa. 

HODGE   &  HUSTON, 

THE    SOLAR   PRINTERS, 

622  Arch  Street,  Philadelphia. 

PERMANENT  PRINTS  BY  THE  PLATINUM  PROCESS. 
ELECTRIC  LIGHT. 


312  THE    PHILADELPHIA    PHOTOGRAPHER. 


PASSAV  ANT'S  DRY  PLATES 

ARE  CONCEDED  BY  THE  LEADING  PHOTOGRAPHERS 
OF  THE  PACIFIC  COAST  TO  BE 

THE  BEST  AND  MOST  RELIABLE  IN  THE  MARKET. 


CT  "Q         Specially  for  Portraiture  and  Instantaneous  Views, 
Y*      requiring    one-half    the   time    of    other   Dry    Plates, 
1    working  with  great  softness  and  delicacy. 

|  |      For  ordinary  Studio  Work  and  Landscape. 


^ PRICE 

LIST. ^ 

Per  Doz. 

Per  Doz. 

Per  Doz. 

3Xx4X,     • 

.     .  SO  60 

5x8,. 

.       .    $1    75 

11  x  14,      . 

.     .     $6  50 

4x5,. 

.     .          90 

6^x8^,      . 

.     .     2  30 

14x17,      • 

.     .     12  00 

4^x6^,      • 

.     .      1    20 

8      x  10, 

.     .     3  40 

17x20,      . 

.     .     20  00 

5x7, 

.     .     1   75 

10  x  12, 

.     .     5  00 

18  x  22, 

.     .     24  00 

Numerous  testimonials  from  all  parts  of  the  States  at  hand.     Try  them. 

Passavant's  Photographic  Dry  Plate  Factory, 

306  GUERRERO  STREET,  SAN  FRANCISCO,  CAL. 

OSCAR    FOSS,    SOLE    AGENT    FOR    THE    PACIFIC    COAST. 


OUR  SPECIALTIES 


BROMIDE  AMMONIUM,  Chem.  Pure. 

BROMIDE  POTASS.,  Chem.  Pure. 

NITRATE  SILVER,  Chem.  Pure. 

FOR  DRY  PLATES. 

CROSS-SWORD    DRESDEN    ALBUMEN    PAPER, 
Single  and  Extra  Brilliant.    The  Best  in  the  Market. 

ALSO  A  GENERAL  LINE  OF 

PHOTOGRAPHIC    CHEMICALS. 

A  circular,  "How  to  Save  Waste,"  sent  on  application. 

CHAS.  COOPER  &  OO. 

194  Worth  St,  New  York 


THE  PHILADELPHIA  PHOTOGRAPHER. 


313 


720  {5  gross)  of  these  trimmers  were  sold  to  one  party  in  July. 


feOBINSON'S 
NEW  MODEL 


PHOTOGRAPH  TRIMMERS ! 


These  invaluable  instruments  are  already  used  all  over  the  country,  and 
now,  a  change  of  form  having  permitted  an  immense  reduction  in  price, 
they  must  soon  be  UNIVERSALLY  USED  as  they  afford  a  quicker, 
better,  and  less  expensive  means  of  trimming  photographs  than  any  other. 
The  inventor  assures  photographers  that  his  trimmers  can  be  used  with 
greater  ease  when  held  as  indicated  in  the  drawings  below.  These  trim- 
mers are  now  made  entirely  of  metal,  and  in  quality  are  fully  equal  to  those 
of  the  old  model.  They  answer  for  oval,  round,  arch  top,  and  square 
work. 


Plan  of  holding    Lhc  Straight    Cut  Trimmer 
when  in  use.    PRICE,  50   CENTS. 


Plan  of  holding  the  Revolving  Trimmer  when  in 
use.     PRICE  (with  one  card  guide)  $1.00. 


ROBI  NSON'S     OUIDES. 

MADE   OF   SHEET-IRON. 
We  have  the  following  Regular  Sizes  always  on  hand  at  io  cents  per  inch  the  longest  way  of 
the  aperture. 

SQUARE  OR  ROUND  CORNERED. 

2TVx3|  2T\x3|  2fx4£  4x5f 

2£x3f  2T^x3|  2Jx4f         4£x5| 

2£x3^  2|x4J  3|x5^         3|x6 

2Ax3if  4x6^ 

FOR  STEREOGRAPHS. 

Arch  Tops.  Round  Cornered.  Round. 


OVAL; 


2x2| 
2|x3i 

2fx3f 
2tx^f 
2|x3f 
21x41 


3|x4f 
3fx4| 
3£x4| 
3|x5| 
4x5f 
44x6# 


5x7 

&j  x  7  5- 
5Jx7£ 
5|x7| 

£*4  X  7  4 

6x8 


6J-x8i- 
6Jx8J 
7x9" 
7^x9^ 
7£x9J 
7|x9| 


3TVx3|,  3x3  3T\x3|,  3x3 


3x3 


The  above  sizes  suit  the  Collins  Card  Mounts,  and  photographers  knowing  that  they  can  be 
always  had  at  the  low  price  of  ten  cents  per  inch,  would  do  well  to  make  their  sizes  accord,  as 
orders  can  also  be  filled  more  quickly.     Ten  days  are  required  to  make  special  sizes. 

Special  Sizes  made  to  order,  at  15  cents  per  inch,  the  longest  way  of  the  aperture. 

ROBINSON'S  PHOTOGRAPH  TRIMMERS  are  substitutes  for the  Knife  for  Trimming 

Photographs,  and  do  the  work  much  more  expeditiously  arid  elegantly. 

They  Save  Time,  Save  Prints,  and  Save  Money. 

They  do  not  cut,  but  pinch  off  the  waste  paper,  and  leave  the  print  with  a  neatly  beveled  edge 
which  facilitates  adherence  to  the  mount.  .  Try  one,  and  you  will  discard  the  knife  and  punch  at 
once.     For  ovals  and  rounded  corners  they  are  worth  their  weight  in  gold. 

SiDett  EDWARD  L.  WILSON,  Manufacturer's  Agent,  1125  Chestnut  St.,  Philada. 

4 


314 


THE    PHILADELPHIA    PHOTOGRAPHER. 


L(* 


THE3    HVEOTJUVTID    OITY 


?? 


Photographic  Stock  House 


Offers  the  Most  Complete  line  of 

Photographic    Apparatus,    Chemicals, 

Picture  Frames.  Mouldings,  Mats, 

Albums,   Etc.,   in   the    market, 

at  bottom  prices. 

Professional  and  Amateur  Outfits  a  Specialty, 

AGENT  FOR 

KUHN'S  LIGHTNING  DRY-PLATE  INTENSIFIED 


KUHN'S  SENSITIZED  PAPER  STRETCHER  AND  DRYER. 

Address 

H.  A.  HYATT, 

8th  &  Locust  Sts., 

ST.  LOUIS,  MO. 


Send  for  Illustrated  Catalogues  of  Photographic  Goods  and  Picture  Frames. 


ALBERT  MOORE  -  SOLAR  ENLAR6ER 

THE  LONGEST,  LARGEST,  AND  BEST. 

828  Wood  Street,  Philadelphia. 

PHOTOGRAPHISCHE  MITTHEILUNGEN. 


We  are  now  prepared  to  receive  subscriptions  for  Dr.  Hermann  W.  Vogel's  magazine  bearing 
the  above  title. 

The  MITTHEILUNGEN  is  published  in  German  and  is  issued  semi-monthly  at  $3.00  per  year, 
postage  paid.  To  all  of  our  German  photographers  and  many  others  this  will  be  considered  a 
desirable  opportunity. 

The    Magazine  is  published  at  Berlin.     Subscriptions  received  by 

EDWARD    L.   WILSON, 

1125  Chestnut  Street,  Philadelphia,  Fa. 


THE    PHILADELPHIA    PHOTOGRAPHER. 


315 


WILSON'S  PHOTOGRAPHIC 


-+° •- 


A( 


-Hjcfl  W^WfWW  ®N  EYE^Y  B^^CP  @F  Pp@¥@6^PpY.^ 


THE  PHILADELPHIA  PHOTOGRAPHER. 

A  monthly  Magazine,   illustrated  by  photographs  of   superior  merit. 
$5.00  a  year;  $2.50  for  six  months. 

Stands  ahead  of  all  its  kindred.     Twenty-one  years  of  success  is  a  sufficient 
guarantee  of  its  value  and  use  to  the  practical,  working,  growing  photographer. 
Do  not  go  without  its  valuable  help. 

WILSON'S  LANTERN  JOURNEYS. 

By  Edward  L.  Wilson.     In  Three  Vols. 
Price,  |2.00  per  vol. 

For  the  lantern  exhibitor.     Gives  incidents  and  facts 
in  entertaining  style  of  about  2000  places  and  things, 
including  200  of  the  Centennial  Exhibition. 

WILSON'S  PHOTOGRAPHICS 

THE   NEWEST  AND   MOST   COMPLETE 

PHOTOGRAPHIC   LESSON-BOOK. 

Covers  Every  Department. 

352  Pages.    Finely  Illustrated.    Only  $4.00. 

By  Edward  L.  Wilson. 

THE  FERROTTPER'S  GUIDE. 

Price,  75  cents. 

Cheap  and  complete.     For  the  Ferrotyper,  this  is  the 
only  standard  work.     Seventh  thousand. 

THE  PROGRESS  OF  PHOTOGRAPHY 

SINCE   1879. 

By  Dr.  H.  Vogel.     Price,  $3.00. 
Issued  July  15th,  1883.     A  splendid  work. 

STUDIES  IN  ARTISTIC  PRINTING. 

By  C.  W.  Hearn.     Price,  $3.50. 

Embellished  witn  six  fine  cabinet  and  promenade 
portrait  studies. 

PICTORIAL  EFFECT  IN  PHOTOGRAPHY. 

By  H.  P.  Robinson.     For  the  Art  Photog- 
rapher.   Cloth,  $1.50.    Paper  cover,  $1.00. 

THE 
PHOTOGRAPHIC  COLORISTS'  GUIDE. 

By  John  L.  Gihon.     Cloth  bound,  $1.50. 

The  newest  and  best  work  on  painting  photographs. 

PHOTOGRAPHIC  MOSAICS,  1885. 

Cloth  bound,  $1.00 ;  paper  cover,  50  cents. 
Back  volumess.  same  price. 
Better  than  any  of  its  predecessors. 

COPIES  MAILED  POST-PAID  ON  RECEIPT  OF  PRICE. 

EDWARD  L.  WILSON, 


Photo.  Publisher. 


1125  Chestnut  St,,  Phila. 


816  THE    PHILADELPHIA    PHOTOGEAPHEE. 


THIS  FAVORITE  ANNUAL  NOW  READY. 


144  PAGES.— 50  CENTS;   CLOTH  COVER,  $1.00—144  PAGES. 


FEW  COPIES  LEFT. 


ORDER  SOON 


TO 


SECURE  THEM. 


THE  PHILADELPHIA  PHOTOGEAPHEE. 


317 


SOOVILL'S 

NEGATIVE  WASHING  BOXES. 


GUARANTEED  NOT  TO  RUST. 

It  is  necessary  at  a  certain  stage  of  development  to  remove  from  photographic  nega- 
tives all  traces  of  Hyposulphite  of  Soda,  and  it  is  not  generally  convenient  to  place  them 
where  water  will  flow  over  their  surface  a  sufficient  length  of  time  to  accomplish  this  effec- 
tually, without  injury  to  the  sensitive  film.  To  watch  the  plate  is  to  waste  time.  The 
flow  over  it  should  he  with  gentle  force.  This  can  best  be  regulated,  and  a  thorough 
cleansing  from  Hyposulphite  of  Soda  of  every  portion  of  the  negative  be  assured,  by  the 
employment  of  one  of  the  Negative  Washing  Boxes  above  pictured.  Plates  are  simply 
slid  into  the  grooves,  a  guarantee  that  the  film  will  not  be  disturbed  or  marred ;  a  bit  of 
hose  is  slipped  over  a  tap,  and  then  at  the  other  end  over  the  spout  on  the  box.  If  need 
be,  another  section  of  rubber  tubing  is  used  to  carry  off  the  waste  water  to  an  outlet. 
After  this  simple  preparation  the  Washing  Box  is  in  readiness  for  service. 


■ 

PRICE 

T    T  Q  m 

t-^ts 

Llbi 

"eJ^J 

No.  1, 

for3ix    4J 

Plates,  . 

. 

.    $1   20 

"   2, 

"4x5 

" 

1  25 

"   3, 

"    4^x    5£ 

<i 

1  30 

"  4, 

"    4ix    6} 

1! 

1  35 

"  5, 

"5x7 

1! 

1  40 

"  6, 

"5x8 

11 

1  50 

"  V, 

"    6£x    8J 

U 

, 

1  75 

"  8, 

"   8    xlO 

<( 

. 

2  25 

LARGER  SIZES  MADE  TO  ORDER. 
Painted  Negative  Washing  Booces,  4  O  cts.  additional  for  eacli  size. 

Cloth  Rubber  Rose  Supplied  for  the  above  Boxes  at  28  cts.  Per  Foot. 
SCOVILL  MANUFACTURING  CO. 


318  THE    PHILADELPHIA    PHOTOGEAPHER. 

COWAN'S 

PLATE  PACKING  MACHINE. 


-H^""1 


TO    PACK    AWAY    NEGATIVES. 


Cowan's  Plate  Packing  Machine,  an  English  invention  lately  adopted  all 
over  Europe  by  dry-plate  manufacturers,  is  for  automatically  placing  a  ridge  or  line 
of  paper  between  the  plates  and  placing  them  quickly  in  shape  for  the  wrapper 
or  box.  A  long  strip  of  paper,  sufficient  for  a  dozen  or  less  plates,  is  placed 
in  the  machine,  then  the  plates  are  inserted,  one  after  the  other,  with  a  gentle 
pressure  which  pushes  in. between  them,  their  full  length,  a  narrow  line  or  corru- 
gation of  the  paper,  say  an  eighth  of  an  inch  wide  only.  The  paper  thus  serves 
to  keep  the  plates  apart  and  prevents  their  breaking  by  carriage  or  pressure  against 
each  other,  as  is  so  commonly  the  case  with  the  old  system  of  packing  with  a 
sheet  of  paper  or  frame  of  cardboard  between.  Moreover,  by  the  Cowan  System, 
as  only  a  very  small  line  of  paper  touches  at  the  two  sides  or  ends  of  the  plates, 
there  is  no  danger  whatever  of  any  being  lost  by  the  adherence  of  the  paper  to 
them  or  by  its  chemical  action  upon  them.  Another  advantage,  a  gross  of  plates 
can  be  packed  by  the  Cowan  apparatus  while  a  dozen  are  being  packed  in  the  old 
way.  It  will  relieve  you  of  all  the  nuisance  of  packing.  Paper,  plates,  and  time 
are  all  saved,  and  greater  safety  ensured,  all  of  which  reduces  expenses. 

It  requires  no  power  to  work  it  but  a  pair  of  careful  hands. 

Prof.  E.  Stebbing,  the  well-known  and  extensive  manufacturer  of  emulsion 
plates  in  Paris,  says :   '•'  I  use  the  Cowan  Machine  and  I  like  it." 

The  manufacturer  of  the  popular  "  Mawdsley  "  Plates  in  London,  says  :  "  We 
save  much  by  its  use  and  would  never  do  without  it." 


FIVE  ONLY  FOR  SALE 


Five  only  have  been  sent  to  this  Country  and  are  For  Sale  at 
FROM  THESE  OTHERS  CAN  BE  MADE. 


Address  EDWARD  L.  WILSON,  Philadelphia,  Pa. 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


319 


No.  54  East  Tenth  Street,  New  York. 


SOLE  IMPORTER  OF 


C.  BtiHMKE  &  CO.'S  IMPROVED  APLANATS. 

TME  BEST  LENSES  FOB,  PORTBAIT,  BAPID  LANDSCAPES 
AND  GBOUPS  YET  INTBODUCED. 


Mr.  Bohmke,  who  has  been  superintending  foreman  for  Voigtlander  &  Son  for  25 
years,  has  lately  brought  out  the  above  designated  instrument,  which  is  in  every 
respect  equal,  if  not  superior,  to  the  "Euryscope,"  combining  a  large  field,  perfect 
definition  and  brilliant  illumination  in  the  highest  possible  degree. 

3l30*  *•  MAGEE  &  0 


MANUFACTURERS  OP  PURE 


Photographic  Chemicals, 

JIo.  622  Pace  Street,  Philadelphia. 


The  Standard  Quality  and  Purity  of  our  Chemicals  make  them  the  most 
desirable  and  reliable  for  photographic  use. 


-#=wSTOCKDEALERS   ONLY  SUPPLIED.- 


flEFIJIEPS  of  GOJJ)  and  SI^Ypp  W  ASJP- 

Waste  sent  through  Stockdealers  will  receive  prompt  attention. 


320  THE    PHILADELPHIA    PHOTOGEAPHEE. 


A    GREAT  SUCCESS/ 


THE 

NEW  DRESDEN  ALBUMEN 


THREE  CROWN  PAPER. 


<alb   &    <sfo 

pgg  ^Sf  ijpajr 

.DRESDEN  ALBUMEN  PAPER 


^£    ife    ^ 

DRESDEN  ALBUMEN  PAPER 


^eHelw3^ 


/^r  Sa/e  y6y  all  Photo.  Stockcfea/ers. 


SCOVILL  MANUFACTURING  CO,, 

NEW  YORK. 


THE  PHILADELPHIA  PHOTOGRAPHER. 


321 


On  and  after  March  1st,  I  will  make  the  following  Reduction : 


3XX4X 

4  x5 

4X*5^ 
4Xx6K 

5  x7 


.       $    45 

5x8 

.       #1   25 

14x17 

65 

ey2x8%   .. 

1  65 

16  x  20 

75 

8      x  10 

2  40 

17x20 

90 

10  x  12 

3  80 

18x22 

1    10 

11   x  14 

5  00 

20  x  24 

#9  OO 

12  50 

13  00 
15  50 
18  50 


CRAMER'S  LIGHTNING  PLATES. 


o*. z^d 


TO  MEET  THE  DEMAND  FOR 

An  Extremely  Rapid  Plate 

I  am  now  making  the  above  new  brand  (blue  label),  which  is  about  twice  as  rapid 
as  my  "Extra  Rapid"  and  nearly 

TWENTY  TIMES  MORE  RAPID  THAN  COLLODION. 


THIS  NEW  PLATE  COMBINES 

EXTREME  RAPIDITY, 

FINE  CHEMICAL  EFFECT, 

PERFECT  CLEARNESS, 

GOOD  INTENSITY, 

EASY  TO  DEVELOP, 

And    CANNOT    BE    EXCELLED. 


For  all  cases  where  Extraordinary  Rapidity  is  desirable  and  for  Large 
Work  these  "Lightning  Plates"  will,  upon  trial,  prove  their  superiority  over 
all  others. 

My  regular  brand,  the  "Extra  Rapid"  (yellow  label),  which  is  so  well 
known  and  sufficiently  sensitive  for  general  use,  will  be  kept  up  to  its  usual  high 
standard. 

BOTH  BRANDS  SAME  PRICE. 

WILL    BE    FOR    SALE    BY    ALL    DEALERS. 


DRY-PLATE  WORKS,  ST.   LOUIS,   MO. 


322  THE    PHILADELPHIA    PHOTOGKAPHEE. 


GIHON'S 

CUT-OUTS 

An  Entirely  New  Variety  for 

Printing  Medallion  Pictures. 


Are  the  very  best  that  are  made,  and  are  now  without  a  rival  in  the  market.  They  are  clean 
cut,  most  desirable  shapes  and  sizes,  and  made  of  non-actinic  paper,  manufactured  specially  for  the 
purpose.  Each  package  contains  30  Cut-Outs,  or  Masks,  with  corresponding  Insides,  assorted  for 
five  differently  sized  ovals  and  one  arch-top. 

Price,  $1.00  per  Package.    Sent  by  mail  on  receipt  of  price. 

Parties  wishing  special  sizes,  or  large  lots  of  a  few  sizes,  may  have  them  cut  to  order  promptly, 
by  addressing  the  manufacturer.      No  lot  costing  less  than  $1.00  made  at  a  time. 
_^Nn  printer  should  attempt  to  make  Medallion  Pictures  without  them. 

They  Have  no  Equal  for  Quality. 

Beware  of  spurious  imitations  made  of  common  paper,  full  of  holes,  badly  cut,  and  odd  shapes  and 
sizes.  Ask  your  Stock-dealer  for  GIHON'S  CUT-OUTS,  and  see  that  they  are  in  his  envelope,  with 
instruction  circular  included.  The  recent  packages  are  composed  of  an  entirely  new  variety  and  ot  a 
new  paper.     TRY  THEM. 

Promenade  Size  now  Keady.        Sold  Separately  at  50  cents  per  Dozen, 


GIHON'S  OPAQUE 

Is  designed  for  Completely  obscuring  the  Imperfect  Backgrounds  of  Copies,  Retouching  Nega- 
tives, Faulty  Skies  in  Landscapes,  Coating  the  Inside  of  Lenses  or  Camera  Boxes, 
Backing  Solar  Negatives,  Covering  Vignetting  Boards, 
And  for  Answering  all  the  Requirements  of  the  Intelligent  Photographer  in  the  Production 

of  Artistic  Results  in  Printing. 

Wherever  you  want  to  keep  out  Light,  use  Opaque. 

IT  IS  APPLIED  WITH  A  BRUSH,  DRIES  QUICKLY  AND  STICKS. 


CUT-OUTS  (thirty),  $1.00.         OPAQUE,  50  Cents. 

FOR  SALE  BY  ALL  DEALERS. 


Address  all  orders  to 

SCOVILL  MANUFACTURING  CO.,  New  York. 


THE    PHILADELPHIA    PHOTOGEAPHEE.  323 


BEST 


DRES 


D$1V 


EXTRA  fefWl  BRILLIANT 


\r  '*» 


4^!-/MEN  PA?** 


Ever  Offered  to  Photographers. 

WHITE,  PINK,  PENSE. 


FREE  FROM  BLISTERS  AND  IMPERFECTIONS. 


A  NEW  PAPER.    NOW  READY. 

EAGLE  SATIN  FINISH, 

IN  PENSE  AND  PEARL. 

Although  my  importations  of  paper  have  had  a  most  satisfactory  sale,  and  the  old  favorite 
brands  will  be  continued  in  the  market  of  the  same  quality,  I  have  a  New  Brand  which  I  offer 
for  public  favor  which  I  believe  to  be  SOMETHING  SUPERIOR. 

*^$36.00  A  REAM.^       m~A  REAM  $36.00.^* 

FOR  SALE  BY  ALL  DEALERS. 

IMPORTED  BY 

G.  GENNERT, 

54  E.  TENTH  ST.,  NEW  YORK. 


FOR   SALE   BY    ALL   DEALERS 


324  THE    PHILADELPHIA    PHOTOGRAPHER. 

A.  M.  Collins,  Son  &  Co. 

MANUFACTURE  ALL    KLNDS    OF 

CARDS  AND   CARDBOARDS 

FOR 

hotographerS 


AND 


MATS.  MOUNTS.  AND  ENVELOPES 


'J 

FOR 


FERROTYPES. 


OFFICE  AND  WAREHOUSE, 

No.  527  ARCH  STREET, 

PHILADELPHIA. 


Price  Lists  may  be  had  by  intending  purchasers  on  application 

to  us,  or  to  all  Photographic  Merchants,  through  whom 

your  favors  are  respectfully  solicited. 


THE    PHILADELPHIA    PHOTOGPAPHEE. 


325 


T 


3T     THEM! 


WAYMOUTH'S  VIGNETTE  PAPERS. 


19  Sizes 


ARE 


Now  Made 

PEAR  SHAPE. 

Prices  Below. 


No.  15  #, 

THE 

Ormslij  Pattern, 

PEAR  SHAPE 

Now  Ready, 

$1.00  PER  DOZ. 

They  are  not  clumsy ;  do  not 
break;  are  always  ready  ;  cost 
but  little,  and  are  easy  of  appli- 
cation to  any  negative.  They  lHBjf-  '  ^SgBHSr  They  are  printed  in  black 
needbut  one  adjustment  to  print  t|H|  W^^S^Mli:  '^^^w  '"or  ordinary  negatives,  yellow 
any  quantity.  They  entirely  ^H|  Wr  bronze  for  thin  negatives,  and 
do  away  with  all  the  old  and  ^^HJ  Wf^  re^  bronze  for  still  weaker  ones, 
troublesome  methods,  either  ^^^^^^^^^  Directions  for  use  accompany 
wood,  metal,  or  cotton.  ,    each  parcel . 

SEE  WHAT  THOSE  WHO  USE  THEM  SAY. 

The  Vignette  Papers  are  just  the  thing.  They  are  a  great  improvement,  and  will  print 
in  little  more  than  half  the  time  required  for  others.  The  results  are  everything  that  can 
be  desired,  as  you  can  see  by  samples  inclosed.  E.  D.  ORMSBY,  San  Francisco. 

FROM  PROFESSIONAL  AND  AMATEUR  PHOTOGRAPHERS. 

'*  First-class." — "  The  sample  sent  answers  perfectly." — "  I  consider  them  first-rate  articles." — "  They  answer  the 
purpose  admirably." — "  They  are  the  best  vignettes  I  have  ever  had,  and  as  you  can  println  lull  sunlight,  they  are  a 
great  saving  of  time." — "They  could  not  be  better,  oblige  me  with  another  packet." — "  I  find  them  excellent,  giving 
much  softer  pictures  than  the  old  way." — "1  have  tried  one  of  the  Vignette  Papers,  an  J  like  it  much;  send  me 
packets  two  and  three." — "  I  am  much  pleased  with  them,  and  shall  thank  you  to  send  me  another  packet." — "I  did 
not  need  any  copies  of  testimonials,  having  well  known  by  experience  that  your  Vignette  Papers  were  superior  to 
anything  I  have  ever  used." — "  I  found  those  you  sent  before  excellent." — "  Vignetting  Papers  received  and  tested  ; 
can't  be  beat.  I  use  by  cutting  an  opening  in  a  piece  of  card-board  and  tacking  to  the  printing-frame,  when  I  am  ready 
for  printing  vignettes  in  the  very  best  manner."— "Waymouth  Vignette  Papers  I  have  tried,  and  they  are  just  what  1 
have  been  wanting  for  years." 


THOSE  WHO  SELL  THEM! 


ALL  STOCK-DEALERS 


INCREASE 
THEIR 


ORDERS  LARGELY 


EVERT 
MONTH 


Better  than  any  patent  machine— trouble,  and  sell  better  every  month. 

PRICES: 

In  parcels  containing  one  dozen,  assorted,  from  Nos.  1  to  5 $0  50 

In  parcels  containing  one  of  each  size,  Nos.  1  to  15,  assorted  colors 1  00 

Assorted  sizes  and  colors,  by  number,  per  package  of  15 1  00 

Nos.  1,  2,  3,  4,  and  5,  assorted  sizes  and  colors,  tor  Cartes,  by  number,  per  doz 50 

»     6,  7,  11,  12,  and  13,     »          »                  »       Large  Cartes  and  Victorias  by  number,  per  doz 75 

»     8,  9,  10,  14,  15,  and  15J^,  assorted  sizes  and  colors,  Cabinets  and  Whole-size,  by  number,  per  doz 1  00 

"16,17,18,                                 »                 »             „       Half           »               »                     »               »       125 

When  ordering,  state  the  number  and  color  you  want. 

EDWARD  L.  WILSON,  Manufacturer,  1125  Chestnut  St.,  Philad'a. 

FOR  SALE  BY  ALL  DEALERS. 

No.  18,  PEAR  SHAPE,  LAST  INTRODUCED;  $1.25. 


326 


THE    PHILADELPHIA    PHOTOGEAPHEE 


JOHN  G.  HOOD. 


ESTABLISHED    1865. 


WM.  D.  H.  WILSON. 


s0N,   HOOD   4 

\>J  V  V>  825  Arch  Street,  V->  Q 

PHILADELPHIA, 

SOLE  AGENTS  IN  THE  UNITED  STATES  FOR  THE 


Centennial,  1876. 


Centennial,  187( 


Ross'  Portrait  and  View  Lenses. 


WE  HAVE 

NOW 
IN  STOCK 


Portrait  Lenses,  from  1-4  to  8  x  10. 
Cabinet  Lenses,  Bios.  3  and  3. 
Card  Lenses,  Nos.  1,  3,  and  3. 
Triplets,  Nos.  1,  3,  3,  4,  5,  6,  and  7. 
[  Symmetricals.    Rapid  Symmetricals. 


Instantaneous  Doublets,  all  sizes. 
Medium  Angle  Doublets,  all  sizes. 
Large  Angle  Doublets,  all  sizes. 
Stereographic  Lenses,  all  sizes. 
New  Universal  Lens. 


Numerous  testimonials  pronounce  them  to  be  the  best  as  well  as  the  cheapest  Foreign  Lenses  ever 
offered  to  the  American  Photographer.   We  will  mail  price  list  on  application,  and  promptly  fill  all  orders. 


Steinheil's  Sons' 


— NEW*- 
APLANATIC 


Lenses. 


No.  1—  1-4  size, 3^  inch  focus, $25  00 

»    3—  1-3      »      5i/       »  »        30  00 

»    3—4-4      »      7  »  »        45  00 


We  now  have  a  full  stock  of  these  Celebrated  Lenses,  at  the  following  prices  : 

No.  4—  8x10  size,...  1.0#  inch  focus,. ..$60  00 

»    5—10x13      »       ...13%       »  »     70  00 

»    6—13x16      »      ...16/       »  »     ....110  00 

Nos.  1  and  2  are  in  matched  pairs  for  stereoscopic  work, 

We  feel  sure  that  at  least  one  of  these  lenses  is  needful  for  the  successful  prosecution  of  your  busi- 
ness, and  so  solicit  your  orders.  Always  in  stock,  to  suit  above  Lenses,  CAMERA  BOXES  made  by 
AMERICAN  OPTICAL  CO.,  SEMMENDINGER,  ANTHONY,  BLAIR,  etc. 

WE  KEEP  IN  STOCK  PULL  ASSORTMENT  OP 

AMATEUR  PHOTO.  OUTFITS 

DRY    PLATES    OF   ALL    MAKES. 

N.  P.  A.  EAGLE  and  S.  &  M.  PAPER,  PER  REAM,  $32.00. 

Any  article  needed  we  can  supply,  as 
WE  MANUFACTURE,  IMPORT,  AND  DEAL  IN  ALL  KINDS  OP 

Photo.  Goods,  Frames,  Stereoscopes  and  Views, 

At  prices  as  low  as  are  consistent  with  the  quality  of  goods  furnished.  We  are  indebted  to  our 
customers  for  the  patronage  during  the  past  Nineteen  Years,  and  our  efforts  shall  be  to  merit  a  con- 
tinuance of  it. 

Illustrated  Price  Lists  supplied  free.    Correspondence  solicited. 


THE  PHILADELPHIA  PHOTOGBAPHEK. 


327 


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Mr.  Edward  L.  Wilson.  New  York,  August  8,  1885. 

Please  send  us  25  copies  of  "Wilson's  Photographics. — Scovill  Mfg.  Co.,  W.  I.  Adams,  Agent. 

Mr.  Edward  L.  Wilson.  New  York,  August  9,  1885. 

Please  send  us  same  number  as  last  lot. — E.  &  H.  T.  Anthony  &  Co 

A  PARTIAL  PHOTOGRAPHIC  ENCYCLOPEDIA. 

By  Edward  L.  Wilson,  Editor  "  Phila.  Photographer,"  "  Photo.  Mosaics,"  etc. 

A  STANDARD  BOOK  FOR  ALL  WORKERS  IN  PHOTOGRAPHY. 


CONTENTS. 

Lesson  A.  Treatment  of  the  Subject — B.  The  Needful  Apparatus — C.  The  Objective  or  Lens — D.  The 
Dark-Room — E.  Preparation  of  the  Glass — F.  Chemicals  and  Solutions — G.  The  Manipulations — H.  Manipu- 
latory Miseries — I.  Retouching  the  Negative — J.  The  Glass  Studio — K.  Accessories  and  Light — L.  Manag- 
ing the  Model — M.  Printing  on  Albumen  Paper — N.  Printing  on  Plain  Paper — 0.  General  Remarks  on 
Printing — P.  Printing  on  Various  Surfaces— Q.  Printing  Perplexities — R.  Art  in  Printing — S.  Mounting 
and  Finishing — T.  Photography  Outside — U.  Bromo-Gelatine  Emulsion  Work — V.  Vogel's  Collodion  Emul- 
sion— W.  Enlargements  and  Lantern  Slides — X.  Phototypes,  Platinotypes,  and  Collodion  Transfers — Y. 
Wastes  and  Their  Worth — Z.  Metrical  Measuring — &.  Concluding  Confab — Index  (Six  Pages.) 

It  is  believed  that  this  is  the  most  valuable  work  ever  offered  to  the  working  photographer  Its  sale 
was  never  equaled.  It  contains  352  pages;  7  x  8|  inch  cover,  and  is  1J  inches  thick.  More  than  100 
illustrations.     It  gives  full  details  of  all  practical 

PROCESSES,  OLD  AND  NEW,  PUBLIC  AND  SECRET. 

Among  the  lntter  are  the  "Phototype,"  sometimes  called  the  "  Artotype  "  process,  with  examples; 
many  of  the  "  Lightning  "  processes  ;  the  "  Platinotype  "  process  ;  the  "  Collodion  Transfer  "  or  "  Mega- 
type  "  process,  and  many  others. 

58  pages  are  devoted  to  Posing  and  Lighting;  37  pages  give  instructions  in  Emulsion  "  Dry  "  Work  ; 
29  pages  show  how  to  Build  and  Use  Skylights  ;  108  pages  furnish  instructions  for  Manipulating  Nega- 
tives ;  37  pages  are  applied  to  Printing  Formula  and  Dodges;  175  pages  gives  Notes  from  Authors  all 
over  the  world.     It  is  printed  on  fine  white  paper,  made  especially  for  it,  and  sold  at  the  low  price  of 

$4.00  POST-PAID  $4.00. 

'  For  the  beginner,  for  the  amateur,  for  the  photographic  worker,  it  is  believed  to  be  most  complete. '  No 
live  photographer  should  fail  to  get  it  soon,  before  his  neighbor  is  ahead.     For  sale  by  all  dealers,    (over.) 


PARTIAL  INDEX. 


This  is  added  in  order  to  give  the  buyer  a  good  idea  of  what  he  may  get  for  his  money.  It  will  be  seen 
also,  that  Photographies  is  not  a  book  for  a  single  reading  only,  but  a  thorough  encyclopedia  of  practical  pho 
tographic  information  that  will  serve  for  all  time.  There  is  scarcely  a  thing  you  are  likely  to  want  in  you 
practice  that  you  may  not  find  in  its  pages.  There  is  only  room  here  for  a  partial  index.  The  whole  cover 
six  pages  of  Photographies. 


Accessories  and  Light. 
Acidifying  the  Prints. 
Aerial  Perspective. 
Albumen  for   Phototypes,   Fil- 
tering the. 

Loss  of,  from  the  Paper. 

Paper,  Defects  and  Dryness  of 

Substratum  for  Glass. 
Alkaline  Sulphides,  Test  for. 
Alum,  Treatment  of  the  Prints 

with. 
Angle  of  View  possible  with  a 

Lens. 
Angular  Composition, 
Aniline  Blue  for  Pure  Whites 

in  Prints. 
Apparatus,  Dry-Plate  for  Land- 
scapes. 
Arrangement  of  Drapery,  Raph- 
ael's. 
Art  among  Photographers. 

and  Art  Rules. 

Principles  applied  to  Photog. 
Artificial  Light  for  Solar  Print- 
"Artotypes."  [in&- 

Atmospheric  Effect. 
Backgrounds. 

Frames  for:': 

How  to  Make  and  Paint. 
Bath,  Boiling  down  the. 

Decolorizing  the  Printing. 

Fusing  the. 

Rectifying  the. 

Removing  Albumen  from  the. 

Testing  the  Strength  of  the. 

The  Fixing. 

The  Nitrate. 

Troubles. 
Black  and  White  Negatives. 
Blistering  of  Prints. 
Blueness  of  the  Film. 
Bold  Prints  from  Flat  Negatives 
Breadth  of  Effect. 
Brilliancy  in  a  Photograph. 
Bronio-Gelatin  Emulsion  Work. 

Alkaline  Developer  for. 

Calculations,  Table  for. 

Carbutt's  Cruet  for. 

Chemicals  for. 

Development  of. 

Drying  the  Plates. 

Exposure  of. 

Fogging  of. 

Frilling  of. 

Intensifying. 

Printing. 

Rapidity  of. 

Reducing. 

Retouching  and  Varnishing. 

Spreading  the  Gelatin. 

Strengthening. 

Washing. 
Burnishing  the  Prints. 
Camera,  Care  of  the. 

How  to  tell  a  good. 


Contrasts,  Violent. 
Correctness  and  Comparison 
Curtains  for  the  Studio. 
Dark-Room,  The. 
Dark-Tent,  The. 
Defective  Toning  of  Prints. 
Defects  and  Dryness  of  Albu- 
men Paper. 
Dense  Negatives,  Printing. 
Developer,  The  Iron. 

The  Iron  and  Ammonia. 
Development,  The. 

Best  Rule  for  the. 
Diaphragm. 

Use  of  the.  [Printing. 

"Doctoring"     Negatives     for 
Drapery,    Raphael's    arrange- 
ment of. 


Drying-Box 

for 

Phototype 

Plates. 

Cupboard 

for 

Emulsion 

Plates. 

[Plates. 

Cupboard 

for 

Phototype 

Card-Board,  Cockling  of  the. 

Cheapness. 

Chemicals  and  Solutions,  The. 

Chemistry  of  Out-Door  Formulae. 

Chiaro-Oscuro,  or  Light  and  Shade. 

Chloride  of  Gold,  Saving. 

of  Silver,  into  a  Metallic  State. 
Clouds  and  Sky,  The. 

in  Out- Door  Views. 

Printing  in. 
Collodion  Bromized. 

Changes. 

Double  Iodized. 

for  Hot  Weather. 

for  Interiors. 

Intense. 

Out-Door,  Water  In. 

Troubles. 
Collodion  Transfers. 

Coloring. 

Gelatin  Paper  for. 

Iodizers  for. 

Printing. 
Collodionizing  the  Plate. 
Color,  Good,  Printing  for  Negatives. 
Composition,  Angular. 

Circular. 

Pyramidal. 
Concluding  Confab. 
Contraction     and     Expansion     of 
Paper. 


Oven  for  Phototype  Plates. 
Room,  The. 
the  Paper, 
the  Prints. 

Vogel's  Collodion  Emulsion. 
Education  of  Photographers. 
Effect,  Breadth  of. 
Effects,  BrilHant. 

of  Light. 
Encaustic  Paste  for  Prints. 
Enlargements  and  Lantern  Slides. 
Enlarging   Carte-de-Visite    Nega 

tives. 
Exposure  for  Phototype  Plates, 
for  Platinotypes. 
of  Bromo-Gelatin  Plates. 
Shortening. 
Time  of. 
Eye,  Education  of  the. 

of  the  Sitter. 
Faces,  The  Study  of. 
Fading  of  Prints. 
Ferrous-Oxalate  Developer,  The. 
Field  Work. 
Figures  in. 
Foreground  Study  in. 
Film,  Blueness  of  the. 

Weakness  of  the. 
Filtering  Albumen  for  Phototypes. 

Gelatin  for  Phototypes. 
Finishing  and  Mounting. 
Fixing. 

Flat  Negatives,  Printing. 
Flatness  and  Want  of  Contrast. 
Fogging. 

Formation  of  Network  on  the  Film. 
Fumes,  Poisonous. 
Fuming  the  Paper. 
Fusing  the  Bath. 
Glace  Prints. 
Glass,  Preparation  of  the. 
Studio,  The. 


NO   LAG. 


ALTHOUGH  there  are  lower-priced  magazines, 

ALTHOUGH  there  are  magazines  issued  more  frequently, 

ALTHOUGH  there  are  magazines  more  thoroughly  de- 
voted to  the  interests  of  the  dealers, 

ALTHOUGH  there  are  younger  magazines, 

ALTHOUGH  some  magazines  watch  less  diligently  the 
interests  of  the  craft, 

YET 
THE  PHILADELPHIA  PHOTOGRAPHER 


CONTINUES  TO  GROW,  AND  THERE  IS 

1ST  O 


J*L.Gr 


In  the  interest  which  is  taken  in  it  and  the  enthusiasm  with  which  it  is  supported. 

THE    REASON? 

Because  its  editor  puts  his  heart  in  his  work,  gives  it  his  personal  hand  and  head 
work  and  makes  it  the  best. 

Witness  the  report  of  the  Buffalo  Convention,  which  everybody  agrees,  so  far  as  we 
ha^ve  heard,  "was  the  very  best  report  published." 

No  matter  how  many  other  magazines  you  take,  the  Philadelphia  Photographer 
is  different  from  all  the  rest,  and 

YOU    WANT    IT, 

If  you  want  to  keep  up  in  your  art. 

SAMPLE  COPIES  FREE. 


1885  &  1886  NOW  for  $6.50.     $5.00  a  year;  $2  50  for  six  months; 
50  cts.  a  copy.     See  Book  Bargain  Advertisement. 

It  has  been  our  custom  for  many  years,  to  give  old  subscribers  a  premium  for  new  subscriptions 
sent  in  addition  to  their  own.  We  continue  this  plan  by  offering  one  dollar's  worth  of  our 
publications  for  each  such  additional  subscriber  for  a  year.  Please  do  all  you  can  to  increase  our 
usefulness  in  behalf  of  the  glorious  art  of  photography.     It  is  to  your  interest  to  do  so. 

We  have  some  useful  schemes  and  novelties  under  way,  which  will  be  presented  from  time  to  time. 

Contributions  from  both  Actives  and  Amateurs  are  invited.  Proceedings  of  Societies  are  very 
useful  and  should  be  sent  promptly. 

EDWARD  L.  WILSON,  Editor,  Publisher,  and  Proprietor,  1125  Chestnut  St.,  Phila. 


NOTICE   TO    SUBSCRIBERS. 


In  remitting  by  mail,  a  post-office  or- 
der, or  draft,  payable  to  the  order  ot 
Edward  L.  Wilson,  is  preferable  to 
bank-notes.  Postage  stamps  of  the 
denomination  of  two  and  five  cents 
each  will  be  taken.  Clearly  give  your 
Post-Office,  County,  and  State. 

Foreign  subscriptions  must  be  ac- 
companied by  the  postage  in  addi- 
tion. 


ADVERTISING  sheets  are  bound 
with  each  number  of  the  Magazine. 
Advertisements  are  inserted  at  the  fol- 
lowing rates : 

One         Six         One 
Month.  Months.   Year. 

One  Page $20.00  $110.00  $200.00 

Half    "    12.00       66.00     120.00 

Quarter  Page...  7.00  38.50  70.00 
Eighth  "  ...  4.00  22.00  40.00 
Cards,    6  lines 

orless 2.00       11.00       20.00 


The  attention  of  advertisers,  and 
those  having  galleries,  etc.,  for  sale 
is  called  to  our  Specialties  pages 
Terms,  $2  for  six  lines,  and  25  cents  foi 
each  additional  line,  seven  words  to  a 
line,  always  in  advance.  Duplicate 
insertions,  50  cents  less,  each. 

We  have  added  an  Exchange  Column 
to  our  Magazine,  wherein  photogra- 
phers having  articles  for  exchange  can 
insert  advertisements  at  the  low  price 
of  15  cents  per  line,  or  fraction  of  a 
line,  of  seven  words  to  a  line. 

Operators  desiring  situations  no 
charge. 


BLAIR'S 


CAMERAS. 


(IMPROVED.) 


Our  recent  improvement  in  this  popular  Camera  still  keeps  it  ahead  of  all  com- 
petitors as  a  Light-Weight  Camera. 

Fitted  with  Feather- Weight  Holders,  unless  otherwise  specified.     Ask  for  the 
latest  style  with  metal  guides  and  track. 


PRICE    LIST. 

CAMERA  PEOPES.  EXTENSION". 

Size  of  Plate.  Single  Swing.  Double  Swing.  Size  of  Plate. 


4%  x  5%  $28.00  $30.00 

5x7       31.00  33.00 

6%  x  3% 35.00  37.00 

3  x  lO    40.00  43.00 


5x8 $800 

8  x  10  10.00 

10  x  12  13.00 

11  x  14  1500 


We  are  constantly  adding  new  and  useful  goods  to  our  already  large  list,  which 
will  be  illustrated  on  this  page  from  time  to  time. 

Send  for  catalogues  and  circulars. 


THE  BLAIR  TOUROGRAPH  AND  DRY-PLATE  CO., 

No.  471  Tremont  Street, 

BOSTON,  MASS. 

WAREROOMS,  NEW  YORK  AND  CINCINNATI,  OHIO. 


22d  YEAR.  OCTOBESR.,  1835. 


1 


Number  262. 


50  Gents. 


THE 


PHILADELPHIA 


fartflgrapfcer. 


AN  ILLUSTRATED  MONTHLY  JOURNAL, 


DEVOTED  TO  PHOTOGRAPHY. 


EDITED  BY  EDWARD  L.  WILSON. 


PHILADELPHIA:   EDWARD  L.  WILSON 

PUBLISHER  AND   PROPRIETOR, 

No.  ii  25  Chestnut  Street. 

SUBSCRIPTIONS  RECEIVED  BY  ALL  NEWS  AND  STOCKDEALERS. 
Five  Dollars  per  Annum,  in  Advance. 


Entered  at  the  Post-Office  at  Philadelphia  as  second-class  matter. 


WILSON'S  PHOTOGRAPHIOS,  Fourth  Thousand,  $4.00.  V/ffl1?^ 


TUMMARY    OP    CONTENTS. 


PAGE 

No  Lag, 313 

A  Model  Exhibit.     By  Edward  L.  Wilson,     .  313 

Composite  Photography, 316 

The  Old  Case  Argued  Again, 317 

Will    Photography  Become  a    Lost  Art?     By 

J.  A.  L., 319 

Errors  in  the  Report  of  Our  Photo.  Convention. 

By  G.  Cramer, 320 

My  Developer  Bottle.  By  H.  Schoonmaker,  .  321 
An  Attempt  to  Photograph  the  Solar  Corona 

without  an  Eclipse, 322 

The  Arousement  at  Buffalo.  By  J.  F.  Ryder,  324 
Gelatin  Film  Negatives.     By  Robert  De  Che- 

neviere, 325 

Citro-chloro-gelatine  Paper, 327 

Honor   to  Whom   Honor   is   Due.     By  M.  H. 

Albee, 328 


Two  Years'  Experience  with   One   Developer. 

By  Edwin  Duryea, 329 

The  American  Paper  Negative  in  Europe,  .     .  330 
The  North,  Central,  and  South  American  Ex- 
position  330 

Paper  Support  for  Negatives.     By  G.  Hanmer 

Croughton, 331 

Our  Picture, 332 

The    New    "Detective"    Camera   and    Photo- 
graphic Materials  Generally,  .....  333 

German  Correspondence, 333 

Dots  of  the  Day, 336 

Another  Theatrical  Triumph.     W.  B.  Tyler,  .  336 

Camera  Amateurs 337 

Society  Gossip 338 

Obituary,     ■ 340 

Editor's  Table, 341 


Embellishment. — First  German  Gennert  Prize  Photos,  from  Buffalo  Convention. 
By  Frederick  Muller,  Munich,  Bavaria. 


ADVERTISEMENTS. 


ALLEN  BROTHERS.     The  Suter  Lens. 
ANTHONY  &  CO.,  E.  &  H.  T.     The  New  N.  P.  A. 

Pense1  Extra  Brilliant  Dresden  Albumen  Paper. 
BIGELOW'S  ARTISTIC  PHOTOGRAPHY. 
CARBUTT,  J.     Gelatine  Dry  Plates  and  Improved 

Dry  Plate  Lantern. 
COLLINS,  SON  &  CO.,  A.  M.     Photograph  Cards. 
COOPER,  CHAS.  &  CO.     Union  Negative  Cotton. 
CRAMER,  G.      Lightning  Plates. 
DEALERS'  DIRECTORY. 
DOUGLASS,  THOMPSON  &  CO.     Supplies  for  the 

Art-Science  of  Photography. 
EASTMAN  DRY-PLATE  AND  FILM  CO. 
ENTRBKIN.     Patent  Eureka  Burnisher.     Duplex 

Rotary  Burnisher.     Duplicating  Print-Cutter. 
FRENCH  &  CO.,  BENJ.     Voigtlander  &  Son  and 

Darlot  Lenses.     The  Wonderful  Euryscope. 
GENNERT,  G.     Albumen  Paper.     C.  Bb'hmke  & 

Co.'slmproved  Aplanats. 
HANCE'S  SPECIALTIES. 
HODGE  &  HUSTON.     The  Solar  Printers. 
HYATT,  H.  A.     New  Brand  of  Dry  Plates. 
INGLIS,  JAMES.     "Insoluble"  Dry  Plates. 
KEEVIL'S  PATENT    NEWTONIAN    DUPLEX 

LANTERN. 


MAGEE  &  CO.,  JAS.  F.    Photographic  Chemicals. 

MOORE,  ALBERT.     Solar  Enlarger. 

MOSAICS,  1S85. 

OPTICAL  LANTERNS  AND  SLIDES. 

'PASSAV ANT'S  DRY  PLATES. 

PHOTOGRAPHIC  COLORISTS'  GUIDE. 

PHOTOGRAPHIC  PROGRESS  SINCE  1878. 

PHOTOGRAPHIC  PUBLICATIONS. 

PHOTOGRAPHISCHE  MITTHEILUNGE'N. 

PICTORIAL  EFFECT  IN  PHOTOGRAPHY. 

ROBINSON'S  NEW  MODEL  PHOTO.  TRIMMER. 

SCOFIELD'S  UNIQUE  CAMERA. 

SCOVILL  MANUFACTURING  CO.  New  Dres- 
den Albumen  Three  Crown  Paper.  Negative 
Washing  Boxes.     Gihon's  Cut-Outs. 

THE  BLAIR  TOUROGRAPH  AND  DRY  PLATE 
CO. 

THE  HELIOTYPE  PRINTING  CO. 

WAYMOUTH'S  VIGNETTE  PAPERS. 

WILSON,  HOOD  &  CO.  Ross  and  Steinheil 
Lenses,  Photo.  Frames,  Goods,  Stereoscopes, 
and  Views. 

WILSON'S  PHOTOGRAPHICS. 

WILSON'S  LANTERN  JOURNEYS. 

WILSON'S  VIEWS  OF  THE  ORIENT. 


119  South  Fourth  St. 

PHILADELPHIA. 

Branch  Office, 
60B  Seventh  Street, 

WASHINGTON,  D.  G. 


H.  HOWSON, 

Engineer  and  Solicitor  of  Patents. 

C.  HOWSON, 

Attorney  at  Law,  and  Counsel  in 
Patent  Cases. 


THE    PHILADELPHIA    PHOTOGKAPHLB.  297 

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1 


ENTREKI'S  PATENT  EUREKA  BURNISHER 


The  above  cut  represents  our  25  inch  Eureka. 


The  unprecedented  popularity  of  this 
Burnisher  is  wonderful.  Over  seventeen 
thousand  (17,000)  sold  in  less  than  five 
years.  Agencies  in  London,  Berlin,  and 
Vienna,  and  sold  by  all  stockdealers  in  the 
United  States.  The  machines  are  built  in 
first-class  style,  and  warranted  to  do  the 
work  claimed. 

Full  directions  accompany  each  machine. 


PRICES: 


6  inch  Roll, 
10  " 

14  " 


H5  00 
25  OO 
35  00 


20  inch  Roll, $60  00 

25  "  70  00 


BNTREKIN'S 
Duplex  Rotary  Burnisher. 

PATENTED  JUNE  1,  1875. 

PRICES: 

10  inch,  . $15  00 

15      "       .        .        .         .        •        •  25  00 

20      " 35  00 

25      " .        .  45  00 


ENTREEIN'S  DUPLICATING  PRINT  COTTER. 


Cabinet  and  Stereo.  Sizes,  $25.00  Small  Panel  Size,  $3500. 

Size  Qy2  x  8)4,  $40  00. 
MANUFACTURED  AND  FOR  SALE  BY 

W.  G.  ENTREKIN,  4384  Main  St.,  Manayunk,  Philada.,  Fa. 


THE    PHILADELPHIA    PHOTOGRAPHBK.  299 

ENTREKIN'S 

IMPROVED 

DUPLEX  ROTARY  BURNISHER. 

PATENTED. 


10  in.,  $25.00.     15  in.,  $35.00.     20  in.,  $45.00.     25  in.,  $60.00. 

This  Machine  isan  improvement  on  ourold  Duplex  Rotary 
Burnisher,  invented  by  us  in  1874. 

It  is  so  constructed  that  by  changing  the  Large  Gear  or  Cog-wheel,  from  the  stud  to  the  end 
of  the  draw-file  or  upper  roll,  you  reverse  and  change  the  speed  of  the  lower  or  polishing  roll, 
thus  getting  the  same  result  as  in  the  old  Duplex  Rotary ;  but  to  secure  the  best  polishing  surface, 
use  the  machine  with  the  large  cog-wheel  on  the  Stud,  by  so  doing  you  secure  three  times  the 
polishing  surface.  All  the  machines  will  be  sent  out  with  gearing  so  arranged  as  to  give  this 
result.  It  is  optional  with  the  Photographer  how  he  may  use  the  machine.  The  Fire-Pan  is 
so  arranged  that  it  is  impossible  for  it  to  come  in  contact  with  the  surface  of  the  polished  roll,  and 
it  can  be  turned  away  to  cleanse  the  roll. 

EVERY  MACHINE  WARRANTED  PERFECT. 


FOR  SALE  BY 


W.  G.  ENTREKIN,  Inventor  and  Sole  Manufacturer, 

4384  Main  St.,  Manayunk,  Philadelphia,  Pa. 
AND  BY  ALL  PHOTOGRAPHIC  STOCKDEALERS. 


300  THE    PHILADELPHIA    PHOTOGEAPHER. 


Send  to  the  Eastman  Dry  Plate  and  Film  Company 
for  full  particulars  of  their  New 

PAPER  NEGATIVE  PROCESS. 


NEGATIVE  PAPER,  Cut  Sheets. 

NEGATIVE  PAPER  on  Spools  for  Roll  Holders. 

ROLL  HOLDERS,  for  Exposing  Negative  Paper 
in  the  Continuous  Web. 

CARRIERS,  for  Exposing  Negative  Paper. 

CUT  SHEETS  in  Regular  Sizes. 

For    Sale    "fc>y    all    Dealers. 


TRY  THE  COMING  PROCESS. 


THE  EASTMAN  DRY  PLATE  AND  FILM  CO. 

ROCHESTER,  N.  Y. 


THE    PHILADELPHIA    PHOTOGRAPHER  301 


Eastman  Dry  Plate  and  Film  Co. 

NEGATIVE  PAPER  OUTFITS, 

FOR 

MAKING  PAPER  NEGATIVES  IN  ORDINARY  HOLDERS. 


CONTENTS 


2  Doz.  Negative  Paper. 


1  8-oz,  bottle  Castor  Oil. 


1  8-oz.  bottle  Developer.  1  6-in.  Vel.  Rubber  Squeegee. 

2  Carriers,  complete. 


5x8  Outfit,  complete,  with  Carriers    1-8   inch 

thick  for  Dry-plate  Holders,  put  up 

in  neat  box. 

PRICE,  $3.50. 

5x7  Outfit,  complete,  with  Carriers  3-16  inch 

thick  for  Wet-plate  Holders,  put  up 

in  neat  box. 

PRICE,  $3.00. 


FOR  SALE  BY  ALL  DEALERS. 


302  THE   PHILADELPHIA   PHOTOGKAPHEP. 


The  Following  is  of  Interest  to  Every  Photographer. 


THE  NEW  N.  P.  A. 


PENSE 


We  desire  to  call  attention  to  our  NEW  PENSE  N.  P.  A.  Extra  Brilliant 
Dresden  Albumen  Paper. 

The  manufacturers  at  Rives  have  recently  many  marked  improvement  in  their 
celebrated  paper,  and  all  the  sheets  of  this  brand  are  manufactured  specially  for 
it,  and  are  readily  distinguished  from  all  other  papers  by  the  water-mark  N.  P.  A. 

It  is  doubly  albumenized  by  the  most  experienced  house  in  Germany,  with 
new  and  improved  formulas,  and  we  are  confident  that  on  trial  it  will  be  found 
superior  to  any  other  in  market. 

Its  excellence  has  induced  some  unscrupulous  persons  to  place  the 
STAMP  on  the  Paper  of  other  makers,  in  order  to  work  it  off,  trusting  that 
photographers  will  not  look  through  to  see  if  the  water-mark  is  there.  To 
prevent  this  we  have  registered  JESsPiliis  Trade  Mark"®8  in  Washington,  which  will 
subject  to  heavy  damages  all  ^<?^  ^/^  those  who  stamp  this  brand 
on  paper  which  does  not  bear  ^  N.P.A.  ^  the  water-mark  N.  P.  A. 
This  Paper  can  be  had  also  in        DRESDEN.        PINK,  PEARL  or  WHITE. 

FOR  SALE  BY  ALL  DEALERS  IN  PHOTO.  GOODS  IN  U.  S.  AND  CANADA. 


E.  &  H.  T.  ANTHONY  &  CO., 

591  Broadway,  NEW  YORK. 

N.  B. — When  any  paper  is  offered  to  you  at  a  low  price,  Measure  it. 

Also  note  whether  it  runs  Uniform,  for  some  albumenizers  mix  the  first  and 
second  qualities,  not  discarding  that  which  has  defects,  and  thus  get  their  paper 
cheaper. 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


303 


Important  Reauotion 

IN  THE  PRICE  OF  THE  POPULAR 

Stanley  Dry  Plates 


FOLLOWING  IS  TELE  REDUCED  PRICE  LIST: 


3X  x  4Xi  Per  dozen, 
4x5, 

4X  x  5/2, 

4X  x  6#, 
5x7,  » 

5  x  8,  » 

Qy2  x  8*4, 

8  x  10,  » 


$0  45 

65 

75 

90 

1   10 

1  25 

1  65 

2  40 


10  x  12,  per  dozen, $3  80 


11  x  14, 
14  x  17, 

16  x  20, 

17  x  20, 

18  x  22, 
20  x  24, 


5  00 
9  00 

12  50 

13  OO 
15  50 
18  50 


These  Plates  have  met  with  remarkable  favor  among  both  amateur  and 
professional  photographers,  and  the  demand  is  much  greater  than  could  have 
been  expected  within  the  short  time  that  has  elapsed  since  their  introduction. 
Their  rapid  rise  to  popularity  is  a  sufficient  evidence  of  their  superior  qualities, 
for  with  so  many  plates  in  the  market,  nothing  but  intrinsic  excellence 
could  have  brought  them  so  suddenly  into  their  conceded  position  of  the 
best  plates  made.     FOR  SALE  BY  ALL  DEALERS. 


IMPORTANT 


DISCOVERT. 


Tropical  Dry  Plates. 

The  only  Dry  Plates  made  that  will  not  frill  in  water  of  any  temperature, 
and  can  be  dried  by  artificial  heat.  By  their  use  the  negative  can  be  developed, 
fixed,  and  dried  in  a  few  minutes,  enabling  proofs  to  be  taken  from  them  at  once. 
They  are  Rapid  and  Uniform,  unsurpassed  for  softness  and  delicacy,  and  can  be 
used  in  the  hottest  climates. 


PRICES  AS  FOLLOWS: 


3X  *  4X, 
4x5, 

4X  x  sy2, 

4*/  x6/2, 
5x7, 
5x8, 

6^x8^, 
8  x  lO, 


per  dozen, 


$0  50 
75 
85 
05 
30 
45 
90 


1 
1 
1 
1 
2  80 


10  x  12,  per  dozen, 
11x14, 

14x17,  » 

16  x  20,  » 

17  x  20, 

18  x  22,  .» 
20  x  24,  » 


$4  00 

5  85 

10  50 

14  50 

15  25 
18  00 
21  50 


E.  &  H.  T.  ANTHONY  &  OO. 

Sole  Agents.  NEW  YORK. 


CAN  BE  HAD  OF  ANY  DEALER  IN  PHOTO.  MATERIALS. 


304 


THE    PHILADELPHIA    PHOTOGEAPHBE, 


THE  BEST  AND  THE  CHEAPEST. 


GREAT  REDUCTION  IN 


PRICES   OF  DRY  PLATES. 

FROM  AND  AFTER  MAY  10,  1885,  THE  PRICES  OF 

Eastman's   Special  Dry  Plates 

"WILL  BE  AS  FOLLOWS  : 


3^  x    414 

$0     45 

10x12 

$3  80 

4      x    5 

65 

11x14 

5  00 

4/4  x    5K 

75 

14X  17 

9  00 

4/4  x    61A 

90 

16  x  20 

12  50 

5      x    7 

1    10 

17  x  20 

13  00 

5      x    8 

1   25 

l8  X   22 

15  50 

£>y2  x  8y 

1    65 

20  x  24 

18  50 

8      x  10 

2  40 

m 

Eastman  Special  Dry  Plates  give  the  best  chemical  effects,  and  photographers 
are  invited  to  compare  them  with  any  other  plate  in  the  market  for  Brilliancy, 
Roundness,  and  Quick  Printing. 

Owing  to  improvements  made  from  time  to  time,  and  the  extreme  care  exer- 
cised in  every  detail  of  their  manufacture,  these  plates  are  quick,  clean,  and 
uniform. 

Only  the  best  English  glass  is  used.  No  cheap  French  glass,  such  as  is  em- 
ployed in  inferior  plates.     Try  them  and  you  will  use  them. 


FOR  SALE  BY  ALL  DEALERS. 


MANUFACTURED   ONLY  BY 


THE  EASTMAN  DRY  PLATE  AND  FILM  CO., 

ROCHESTER,  N.  Y. 


THE    PHILADELPHIA    PHOTOGRAPHER.  305 

Benj.  French  &  Co. 

No.  319  WASHINGTON  STREET,  BOSTON, 

Sole  Agents  in  the  United  States  for  the  Celebrated  Lenses 
Manufactured  by 

VOIGTLANDER   &   SON. 


ALSO,  THEIR  FAMOUS 


Which  is  unrivalled   for  groups,  full-length   figures,  and  other  demands  in  the 
gallery,  and  every  species  of  out-door  work,  including  instantaneous  photography. 

jg^T-THE  EURYSCOPE  is  made  exclusively  by  Voigtlander  &  Son,  and  their 
name  is  engraved  on  the  tube. 


PORTRAITS.    SaRLOT     L£|MD£aS    VIEWS. 


IMPORTERS,  ALSO,  OF  THE  CELEBRATED 

TRAPP  &  MUNCH 

ALBUMEN    PAPER, 

AND  DEALERS  IN  ALL  KINDS  OF 

Photographic  Materials  and  Magic  Lantern  Slides. 

SEND  FOR  OUR  NEW  ILLUSTRATED  PRICE  LIST  OF  LENSES 


306 


THE    PHILADELPHIA    PHOTOGEAPHER 


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THE    PHILADELPHIA    PHOTOGRAPHER.  307 


BOOKS! 


The  amateur  and  his  old  friend,  the  daily  worker,  are  well  taken  care  of  in  the 
literature  line,  and  we  ask  their  attention  to  the  following  list,  which  includes 
about  everything  there  is  need  for.  There  is,  in  fact,  a  treatise  on  every  branch 
of  photography. 

The  Pliilad.olph.ia  Photographer.  A  monthly  magazine,  illustrated  by  photographs  of 
superior  merit.  $$  a  year;  $2.50  for  six  months. — Stands  ahead  of  all  its  kindred.  Twenty-one 
years  of  success  is  a  sufficient  guarantee  of  its  value  and  use  to  the  practical,  working,  growing 
photographer.     Do  not  go  without  its  valuable  help. 

The  Perrotyper's  Guide.  Price,  75  cents. — Cheap  and  complete.  For  the  ferrotyper 
this  is  the  only  standard  work.     Seventh  thousand. 

Pictorial  Effect  in  Photography.  By  H.  P.  Robinson.  Cloth,  $1.50;  paper  cover, 
$  1 . — For  the  art  photographer. 

"Wilson's  Photographies.  The  newest  and  most  complete  photographic  lesson-book. 
Covers  every  department.     352  pages.     Finely  illustrated.     Only  $4.     By  Edward  L.  Wilson. 

Wilson's  Lantern  Journeys.  By  Edward  L.  Wilson.  In  three  volumes.  Price,  $2  per 
volume. — For  the  lantern  exhibitor.  Gives  incidents  and  facts  in  entertaining  style  of  about  2,000 
places  and  things,  including  200  of  the  Centennial  Exhibition. 

Studies  in  Artistic  Printing.  By  C.  W.  Heam.  Price,  $3.5o.-^Embellished  with  six 
fine  cabinet  and  promenade  portrait  studies. 

The  Photographic  Oolorists'  Gruide.  By  John  L.  Gihon.  Cloth,  $1.50. — The  newest 
and  best  work  on  painting  photographs. 

Photographic  Mosaics,  1885.  A  year-book.  Cloth  bound,  $1 ;  paper  cover  50  cents. 
Better  than  any  of  its  predecessors. — Back  volumes,  same  price. 

The  Photographic  Amateur.  By  J.  Traill  Taylor.  A  guide  to  the  young  photogra- 
pher, either  professional  or  amateur.     Price,  50  cents. 

% 

The  Art  and  Practice  of  Silver-Printing.  By  H.  P.  Robinson  and  Capt.  Abney, 
R.E.,  F.R.S.     Price,  50  cents.     Illuminated  cover.     Cloth  bound,  75  cents. 

Photography  with  Emulsion.  By  Capt.  W.  De  W  Abney,  R.E.,  F.R.S.  Price,  $1 
per  copy. 

Twelve  Elementary  Lessons  in  Dry- plate  Photography.  Price,  25  cents  per 
copy. 

The  Modern  Practice  of  Retouching.     Price,  50  cents  per  copy. 

The  Progress  of  Photography.  By  Dr.  H.  W.  Vogel.  A  splendid  helper  to  all  workers. 
Price,  $3. 

Picture  Making.     By  H.  P.  Robinson.     Cloth,  $1.     Paper,  50  cents. 

All  orders  for  above  will  be  filled,  free  by  post,  on  receipt  of  price  at  the 
office  of  this  magazine. 

EDWARD  L.  WILSON,  Photo.  Publisher,  1125  Chestnut  St.,  Phila. 


308  THE    PHILADELPHIA    PHOTOGRAPHER 


Highest  Award  at  the  London  International  Inventions  Exhibition 


THE  SUCCESS   OF    PAPER    NEGATIVES. 

OPINIONS  OF  THOSE  WHO  HAVE  USED  THEM. 

Dear  Mr.  Eastman  :  New  York,  August  13, 1885. 

The  impossible  is  attained.  It  has  been  claimed  that  in  the  efforts  to  make  full  life-sized  por- 
traits, so  many  difficulties  of  both  optics  and  chemistry  presented  themselves  that  practical  suc- 
cesses were  hardly  to  be  hoped  for.  The  results  exhibited  rather  sustained  the  proposition,  but 
your  Improved  Negative  Paper  solves  the  problem.  I  have  just  made  a  life-sized  negative — full 
lime  in  fifteen  seconds,  with  27  x  22  Dallmeyer  Rapid  Rectilinear,  one  and  a  half  inch  stop — the 
focus  or  rays  of  light  being  sixty  inches  long.  This  under  a  sky-light  with  no  side  light  and  one 
of  friend  Kent's  head  screens  between  the  light  and  the  sitter. 

After  exhausting  my  present  stock  of  plates,  I  shall  use  the  negative  paper  for  all  pictures 
larger  than  8  x  10.      Your  invention  is  the  beginning  of  a  new  era  in  photography. 

Yours  very  truly,         Geo.  G.  Rockwood,  17  Union  Square,  N.  Y. 
As  I  was  the  first  to  use  youi  plates  in  New  York,  so  I  am  the  first  to  use  your  paper  commercially. 
The  Eastman  Dry  Plate  and  Film  Co. 

Gentlemen  :  Your  letter  of  June  20th  and  the  Roll  Holders  came  here  just  after  my  de- 
parture for  an  extended  trip  East.  I  am  now  back,  and  upon  the  first  opportunity,  gave  the  holder 
and  paper  a  trial.  To  say  that  I  am  pleased  with  the  working  of  both  holder  and  paper  is  express- 
ing myself  very  mildly.  The  ease  of  manipulation  is  something  wonderful;  the  adjustment  of 
the  spool  of  paper  to  the  holder  takes  but  a  few  moments ;  the  registry  of  each  successive  length 
as  it  is  brought  into  position,  is  perfect;  the  weight  of  the  whole  apparatus  is  an  unconsidered 
trifle.  When  home  again,  the  spool  of  exposed  paper  is  removed  in  about  "  one  time  and  two 
motions,"  as  military  parlance  would  have  it,  and  a  pair  of  shears  clips  off  each  length ;  a  slight 
moistening  lays  the  paper  flat  and  smooth  on  the  bottom  of  the  holder  and  development  proceeds 
in  the  easiest  manner  imaginable.  To  enable  the  out-door  photographer  to  appreciate  all  the 
advantages  of  the  paper  process,  let  him  bring  to  mind  the  trials  and  suffering  incident  to  the  use 
of  glass  plates.  Say  he  has  twelve  5x8  holders  carrying  twenty-four  plates;  these,  with  the 
necessary  carrying*cases,  weigh  about  twenty  pounds  The  Roller  Holder,  with  the  same  amount 
of  material  weighs  three  pounds.  Each  plate  has  to  be  handled  with  all  the  precautions  necessary 
to  guard  against  light.  It  is  very,  very  seldom  that  one  can  fill  twelve  holders  without  coming 
aeross  several  refractory  plates,  too  thick  or  too  wide,  or  something  to  provoke  profanity.  Then, 
if  he  has  to  carry  all  these  about  the  country  during  a  hot  day,  let  him  think  of  the  single  holder 
of  feather  weight;  then  when  he  gets  homevsome  plate  will  stick,  and  he  will  either  pull  his 
*  finger-nails  off  or  break  a  plate  in  getting  them  out.  Glass  plates  require  grooved  boxes  for  wash- 
ing, and  it  is  often  a  problem  in  developing  up  a  big  day's  work,  to  find  places  for  all  his  plates. 
The  paper  films  are  all  washed  in  one  tray,  and  there  is  no  danger  of  the  accidental  abrasion  of 
the  surface  that  happens  so  frequently  to  glass  plates. 

In  fact,  I  might  go  on  interminably  in  speaking  of  the  advantages  that  paper  enjoys  over  glass. 
They  prove  the  advantage  in  every  single  count  up  to  the  final  operations  of  printing.  On  this 
point  we  have  not  had  enough  experience  to  speak  with  assurtance  :  but  I  see  nothing,  so  far,  that 
would  lead  me  to  prefer  glass  to  paper.  Most  surely  there  will  be  no  breakage  to  apprehend,  and 
that  one  advantage  alone  is  priceless.  I  have  apprehended  trouble  with  the  grain  of  the  paper, 
but  if  the  negatives  are  only  made  vigorous,  there  is  no  trouble  on  that  score — even  in  such  small 
work  as  the  "stero."  the  grain  is  not  visible. 

I  send  you  a  proof  of  both  cabinet  and  stero.  sizes  to  show  you  my  success  with  the  very 
first  lot  used.  I  shall  look  forward  with  much  interest  to  your  experiments  with  holders  for  larger 
sizes.  I  shall  want  one  for  18  x  32  soon  as  practicable;  and  in  the  meantime  send  me  a  couple 
Of  dozen  five-inch  spools  as  soon  as  ready.  When  will  you  be  ready  to  undertake  a  7  x  1 1 
holder  for  me?  I  am  a  thousand  times  obliged  to  you  for  the  new  power  placed  in  our  hands 
whereby  our  labors  are  made  sport.      Truly  our  day  of  deliverance  has  come. 

Yours  truly,  W.  H.  Jackson,  Denver,  Colorado. 


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Scovill  Manufacturing  Company,  Trade  Agents. 

FOR  SALE   BY  AT.T.  DF.AT.F.RS 


310 


THE   PHILADELPHIA    PHOTOGRAPHED. 


OVERFLOW ! 

Photographic  Books 

BARGAINS  FOR  PHOTOGRAPHERS. 

Owing  to  the  overflow  in  our  establishment,  we  are  enabled  to  offer  special 
bargains  to  operators,  assistants,  employers  and  amateurs. 

The  books  are  every  bit  as  good  as  new,  and  some  of  them,  especially 
Mosaics,  the  Year  Books,  and  Philadelphia  Photographer,  of  back 
years,  are  the  last  there  will  be. 

Note  Tlxis  £mxc3.  Order  C?xxioli.- 


1.  Pictorial  Effect  in  Photography, 

2.  Gihon's  Colorists'  Guide,    .    .    . 

3.  Vogel's  Progress  in  Photography 

4.  The  Photographic  Amateur, 

5.  The  Studios  of  Europe,  .... 
6-  Lantern  Journeys,  Vol.  1,  .    .    . 

7.  Lantern  Journeys,  Vol.  2, .    .    . 

8.  British  Journal  Almanac,  1885, 


$0  50 
50 
1  00 
25 
50 
75 
75 
25 


10 


Year  Book  of  Photography,  1868 
1869, 1870, 1871, 1877, 1882, 1885 
Photographic  Mosaics,  1865 
1867, 1871, 1872,  1873, 1874, 1875 
1876, 1877, 1878, 1881, 1882, 1883 

1884,  1885, ,  .  . 

The  Centennial  Diary 

AndersoD's   Comic  Allmy knack 


15 


15 
25 
25 


One  Parcel  Containing  1,  2,  3,  4,  5, $2  50 

One  Parcel  Containing  Ten  Copies  of  8  and  10, 1  25 

One  Parcel  Containing  1,  2,  3,  4,  5,  6,  7,  11,  12 4  00 

Where  any  five  books  are  taken,  half  the  amount  will  be  added  in  copies  of  the 
Philadelphia  Photographer  as  discount,  and  sent  by  express. 

A  SPECIAL  P.  P.  BARGAIN. 


We  cannot  always  complete  volumes,  but  make  the  following  offer  : 


Single  Copies  of  the  Philadelphia  Photographer, 
Twelve      "  "  "  " 

A  Full  Volume  "  "  " 


$0  15 
1  50 
1  50 


The  magnificent  studies  in  our  art,  and  the  splendid  articles  contained  in  our 
back  numbers,  ought  to  cause  a  quick  scramble  for  these,  especially  from  the 
amateurs  and  those  who  forgot  to  subscribe. 

No  such  offer  will  ever  be  made  again.     The  overflow  stoch  is  not  large, 
and  you  should  order  early. 

EDWARD  L.  WILSON, 


Photo.  Publisher, 


1125  Chestnut  St.,  Phila. 


THE    PHILADELPHIA    PHOTOGE APHEP. 


311 


New  Book  by  Dr.  H.W.Vogel, 

<§ t  h  E  - ^ 

PROGRESS  OF  PHOTOGRAPHY. 

THE  BEST  EFFORT  OF  THIS  VETERAN  TEACHER. 

Every  Photographer  and  Amateur  should  Read   it   Carefully. 

CHAPTER  I. 

PHYSICAL  EFFECTS  OF  LIGHT. 

CHAPTER  II. 

CHEMICAL  EFFECTS  OF  LIGHT. 

CHAPTER  III. 

PHOTOGRAPHIC  CHEMISTRY. 

CHAPTER  IV. 

PHOTOGRAPHIC  OPTICS. 

CHAPTER  V. 

PHOTOGRAPHIC  APPARATUS. 

CHAPTER  VI. 

THE  NEW  PHOTOGRAPHIC 
PROCESSES. 

CHAPTER  VII. 

PHOTOGRAPHIC  AESTHETICS  AND 
PORTRAIT  TECHNIQUE. 

CHAPTER  VIII. 

PHOTOGRAPHY  FOR  AMATEURS. 

As  the  Artist  should  Study  all  about  the  Face,  so  should  the 
Photographer  Study  all  about  his  Art. 

SO  BETTER  0PP0ETOHITT  TO  DO  THIS  IS  AFFORDED  THAR  THAT  FOUND 

IN 

Progress  of  Photography. 


847 


AG-ESS. 


PRICE 


$3.00 


$3.00 

With  Seventy-two  Illustrations,  and  an  admirable  portrait  taken  with 
Electric  LAght,  by  W.  Kurtz,  New  York. 

EDWARD  L.  WILSON,  Publisher,  1125  Chestnut  St.,  Phila. 


312 


TH  J5    PHILADELPHIA    PHOTOGEAPHBE. 


DEALERS'  DIRECTORY. 


The  following  houses  are  to  be  recommended  as 
the  best  for  photographers  in  their  localities. 

4 


S.  T.  BLESSING, 

New  Orleans, 

La. 


THE 

BEST  BOOK 

IS 


SMITH  &  PATTISON, 

New  Location, 

145  &  147  Wabash  Avenue, 

Chicago. 


H.  A.  HYATT, 

Mound  City  Photo,  Stock  House, 

8th  and  Locust  Sts., 

St.  Louis,  Mo. 


WILSON'S 

PHOTOGRAPHICS, 

$4.00. 


D.  J.  RYAN, 

Savannah, 

Ga. 


SCOYILL  MANF'G  CO, 

423  Broome  St., 
New  York. 


D.  TUCKER  &  CO., 


Buffalo, 


N.  Y. 


S.  T.  BLESSING, 

Galveston, 

Texas. 


O.H.OODMAN&OO. 

Boston,  Mass. 


WILSON,  HOOD  &  CO,, 

825  Arch  Street, 
Philadelphia,  Pa. 


B.  FRENCH  &  CO. 

Boston,  Mass. 


BDCHANAN,  SMEDLEY 
&  BROMLEY, 

25  N.  Seventh  St., 

Philadelphia. 


EDWARD  L.  WILSON, 

Photo.   Publisher, 

LANTERN  SLIDES, 

1 125  Chestnut  St., 

Philadelphia. 


MDLLETT  BROS,, 

Kansas  City, 
Mo. 


OSCAR  FOSS, 

San  Francisco, 
Cal. 


E.&H.T.ANTHONY&CO. 

591  Broadway, 

New  York. 


SHEEN  &  SIMPKINSON, 

Cincinnati, 

Ohio. 


FRITZ     EILENOER, 


SELECTIONS   FROM 

THE  FIRST  GENNERT  FOREIGN  PRIZE  COLLECTION, 

P.  A.  of  A.  Exhibition,  Buffalo,  N.  Y.,  188S. 


THE 


|?kiJatUljrlua  §Jft0t0pi*jrkf, 

EDITED    BY    EDWARD    L.    WILSON. 


Vol  XXII. 


OCTOBER,    1885. 


No.  26  2. 


NO  LAG. 

Although  there  are  lower-priced  maga- 
zines, although  there  are  magazines  issued 
more  frequently,  although  there  are  maga- 
zines more  thoroughly  devoted  to  the  inter- 
ests of  the  dealers,  although  there  are 
younger  magazines,  although  some  maga- 
zines watch  less  diligently  the  interests  of 
the  craft,  yet  The  Philadelphia  Pho- 
tographer continues  to  grow,  and  there  is 
no  lag  in  the  interest  which  is  taken  in  it, 
and  the  enthusiasm  with  which  it  is  sup- 
ported. The  reason  is,  because  its  editor 
puts  his  heart  in  his  work,  gives  it  his  per- 
sonal hand  and  head  work,  and  makes  it 
"the  best." 

Witness  the  report  of  the  Buffalo  Con- 
vention, which  everybody  agrees,  so  far  as 
we  have  heard,  "  was  the  very  best  report 
published." 

No  matter  how  many  other  magazines 
you  take,  the  Philadelphia  Photog- 
rapher is  different  from  all  the  rest,  and 
you  want  it  if  you  want  to  keep  up  with 
your  art. 

Thus  much  we  wrote  as  to  our  magazine 
for  the  third  page  of  our  cover  last  month, 
and  there  is  nothing  truer  than  that  you 
want  it  if  you  want  to  keep  up  in  our  art. 
We  have  had  many  demonstrations  of  this 
fact,  but  will  mention  one  which  occurred 
since  pur  last  issue  : 

A  photographer  living  in  one  of  the 
larger  cities  between  here  and  New  York 


became  in  need  of  an  assistant.  He  came 
down  here  and  spent  two  days  among  pho- 
tographers and  the  stockdealers,  making 
search,  but  without  success.  In  his  des- 
peration he  thought  of  our  office,  and  came 
here  to  make  known  his  wants ;  said  he 
"had  been  two  weeks  without  help,  and 
was  tired  out,  and  fifty  dollars  out  of 
pocket." 

We  said,  "  Did  you  look  at  the  advertise- 
ments in  our  September  number?  There 
were  twenty-four  advertisers  for  situations 
there,  any  one  of  which  you  might  have 
corresponded  with  ten  days  ago." 

He  answered,  "Why,  no,  I  never  thought 
of  that;  besides,  I  do  not  take  your  journal. 
I  do  not  find  time  to  read  it." 

We  suggested  that  he  might  save  money 
and  time  both  if  he  toould  read  a  journal. 

But  when  he  said  he  "  wanted  a  man  to 
attend  to  the  dark-room,  operate,  retouch, 
and  print  at  odd  times,  for  $12  a  week,"  we 
let  him  go.  Would  it  not  be  better  for  him 
to  take  and  read  a  magazine  for  a  lone-  time? 


A  MODEL  EXHIBIT. 

BY    EDWARD   L.    WILSON. 

I  made  last  month  some  general  remarks 
upon  the  exhibits  at  Buffalo,  and  wish  I 
had  time  and  space  to  say  as  much  about 
them  as  they  all  deserved.  Even  in  a 
single  instance  I  cannot,  do  so,  but  will  un- 
dertake to  specify  somewhat  as  to  what  I 
considered  a  "  model  "  exhibit.     It  was  that 


314 


THE    PHILADELPHIA    PHOTOGBAPHEK. 


of  the  Scovill  Manufacturing  Company, 
423  Broome  Street,  New  York. 

When  I  entered  it  first  I  felt  very  much 
as  I  imagine  an  Italian  donkey  I  saw  once 
under  peculiar  circumstances  felt.  It  was 
in  picturesque  old  Naples  on  a  market-day. 
I  stood  on  the  quay  watching  the  peasantry 
as  they  came  in  hanging  to  the  tails  of  their 
donkeys,  and  the  poor  little  beasts  so  covered 
with  lettuce,  cauliflower,  and  radishes  that 
only  their  ears  and  hoofs  could  be  seen. 
This  particular  donkey  was  unloaded  and 
made  fast  to  a  post  near  by,  while  his 
master  "attended  the  shop."  The  donkey 
napped;  his  head  went  down  and  the  halter 
slipped.  Awakening  he  found  himself  free. 
He  strolled  into  one  of  the  side  stalls,  rather 
out  of  sight,  and  lingered  amid  pyramids  of 
luxurious  green  stuff.  He  was  too  surfeited 
to  partake,  apparently,  and  immediately 
began  to  kick  in  all  directions,  and  sent  the 
product  of  the  garden  flying  in  every 
quarter.  Then,  with  extreme  content,  he 
began  to  eat  what  seemed  best  to  him  with 
apparent  enjoyment. 

I  felt  very  much  in  that  sort  of  humor 
when  I  entered  the  exhibit  I  have  men- 
tioned, i.  e.,  that  I  could  enjoy  a  great  deal 
more  if  I  could  kick  a  few  of  the  things  out 
of  my  way.  It  was  indeed  a  marvellous 
collection,  and  I  falter  when  I  try  to  de- 
scribe it  as  representative  of  American  pho- 
tographic manufactures. 

It  was  at  the  left  of  the  main  entrance  of 
the  hail,  in  an  enclosure.  Higher  than 
anything  else  was  an  array  of  tall  but 
graceful  tripods,  which  could  only  be  com- 
pared to  a  forest  of  slender  trees. 

Dazed,  as  I  approached,  I  was  at  once 
drawn  by  a  power,  psychological  or  other- 
wise, to  a  splendid  French  walnut  camera 
and  stand,  which  stood  near  the  entrance  to 
the  enclosure.  I  asked  the  price,  but  was 
informed  by  a  polite  gentleman  that  it  was 
not  brought  to  Buffalo  for  sale,  but  rather  to 
show  what  the  American  Optical  Company 
could  do  when  specially  fine  or  complicated 
apparatus  was  desired. 

It  was  a  bit  of  splendor,  and  yet  it  did 
not  cause  any  diminution  of  interest  in  the 
fine  array  of  sets  of  appartus  which  were 
mounted  upon  the  aforesaid  tripods.  There 
were  about  ninetv-six  of  these.     I  will  men- 


tion them.  "  No,"  you  say ;  "  please  don't!" 
Well,  then,  permit  me  to  specify  just  a  few. 
A  shy,  sly,  smart-looking  group  of  men 
stood  over  in  one  corner,  nervously  exam- 
ining a  tiny  case  of  some  sort.  They  were 
the  Buffalo  detective  force,  from  the  chief 
down,  who,  hearing  of  Scovill's  detective 
camera,  had  come  to  "  see  it  work." 

Very  often  while  standipg  there,  and  as 
often  as  one  chanced  to  pass  near  the  Scovill 
space,  he  could  not  fail  to  note  the  interest 
centered  in  this  detective  camera,  which  has 
been  rapidly  advanced  to  a  state  of  perfec- 
tion. To  glance  at  the  handsome  case,  not 
the  slightest  suspicion  would  be  aroused  as 
to  its  contents,  for  the  camera  prcper,  six 
double  plate  holders,  the  finder,  lens,  and 
the  simple  mechanism,  are  completely 
hidden  from  view,  but  an  inspection  of  the 
album  of  photographs,  the  result  of  the 
sport  enjoyed  by  a  single  possessor  of  a 
Scovill  detective  camera,  revealed  its  in- 
finite capabilities  of  catering  to  the  fun- 
loving  instinct  of  the  genus  Homo.  It  is 
very  cute. 

"  Bevolving-back  "  cameras  of  all  sizes, 
from  4}  x  6  J  to  20  x  24,  inclusive,  were  dis- 
played, and  found  ready  purchasers.  The 
so-called  "  forward  focus  "  pattern  seems  to 
be  gaining  rapidly  in  favor.  Several  of  the 
"revolving-back  "  cameras  were  fitted  with 
the  Eastman- Walker  "roll-holder,"  and 
these  also  were  eagerly  sought  after. 

Much  interest  was  shown  in  the  "  Mani- 
fold "  camera,  the  invention  of  Mr.  W.  J. 
Stillman.  It  was  often  observed  that  it 
was  rightly  named.  To  judge  of  all  its 
capabilities,  one  requires  to  study  the  ad- 
mirable illustrations  and  description  pub- 
lished in  the  advertising  pages  of  the  Pho- 
tographic Times. 

And  now  comes  something  that  every- 
body can  have,  for  when  one  reflects  upon 
the  superior  workmanship  and  desirable 
features  given  to  the  "  Waterbury  Outfits," 
they  must  be  considered  such  marvels  of 
cheapness  that  anyone  can  run  one.  The 
"Petite"  camera,  made  at  the  behest  of 
Yassar's  fair  students,  was  fittingly  placed 
on  a  "feather-weight"  tripod;  and  I  was 
shown  a  new  pattern  of  this  adjustable 
tripod,  which  can  be  readily  unjointed  and 
carried  in  a  valise.     In   spite  of  their  un- 


THE    PHILADELPHIA    PHOTOGBAPHER 


315 


equalled  lightness,  both  styles  of  adjustable 
tripods  possess  the  requisite  rigidity  for 
supporting  small  cameras. 

So  that  now  Hebe  Vassar  may  with  one  fair 
hand  and  camera  catch  the  glistening  water 
as  it  pours  forth  from  the  fountain,  while  she 
receives  it  in  her  water  jar  with  the  other. 
Or  Sappho  Vassar  may  catch  the  departing 
Phaon  McGriffin,  her  father's  coachman, 
while  he  falls  into  the  sea  to  escape  her. 
Again,  Diana  Vassar  may  vary  her  life  of 
celibacy  by  making  groups  of  her  little 
army  of  nymphs ;  or  Juno  Vassar,  when 
Jupiter  is  asleep,  can  with  safety  "  catch 
on"  to  her  "golden  chain"  and  make 
balloon  views  of  the  earth  on  one  of  those 
occasions  when  her  jealous  husband  sus- 
pends her  from  the  heavens,  and  not  straiu 
a  tendon  or  shake  a  rosy  cloud. 

For  these  as  well  as  other  novelties  in  ap- 
paratus I  was  made  aware  that  the  demand 
was  far  in  excess  of  the  supply  on  exhibi- 
tion. The  "  baby  "  of  the  collection  was  a 
25x30  portrait  camera.  As  I  was  not  in 
need  of  a  camera  and  a  "cottage  by  the 
sea  "  combined,  it  fell  to  the  lot  of  another 
to  secure  this  camera,  but  it  is  only  fair  to 
add  that  it  is  a  "  Jumbo  "  only  in  size,  for 
it  weighed  less  than  an  ordinary  20  x  24 
camera. 

Of  folding  and  extension  tripods,  the  light 
and  serviceable  amateur  outfits,  there  was  a 
large  array,  with  such  noticeable  improve- 
ments as  the  registering  slides,  or,  as  they 
have  sometimes  been  styled,  "record  slides," 
and  the  side  latch  for  instantaneously  making 
the  bed  of  a  camera  rigid. 

Photographers  in  search  of  a  good  portrait 
camera  found  their  only  choice  lay  between 
the  "Imperial,"  "  Royal,"  or  other  Ameri- 
can Optical  Company  styles,  and  of  a  "  Gal- 
lery" or  "  Lever"  stand  to  match. 

Choice  in  cameras  for  the  professional 
view  taker  rested  between  the  "  Eevolving  " 
and  "  Reversible-back  "  patterns.  But  I 
found  that  while  I  was  courteously  made 
welcome,  my  call  would  have  to  be  cur- 
tailed, or  I  would  lose  sight  of  the  Morri- 
son's new  "  Leukoscope  "  lens,  about  which 
all  of  us  have  heard  such  favorable  reports 
from  well-known  leading  photographers. 
While  looking  at  the  lens  and  pondering 
on  the  significance  of  its  name,  and,  as  I 


thought  of  the  divine  command,  "  Let  there 
be  light,"  our  old  friend,  Mr.  Richard  Mor- 
rison, greeted  me  cordially,  and  in  the  in- 
terval of  replying  to  queries  about  illumina- 
nation,  aperture,  focus,  etc.,  directed  my 
attention  to  the  marked  reduction  in  the 
price  of  the  Morrison  group  and  wide-angle 
instantaneous  lenses  which  had  just  been 
announced.  The  result  of  this  reduction 
cannot  but  increase  the  ever-growing  de- 
mand in  a  marked  degree.  I  used  the  Mor- 
rison lenses  very  extensively  at  New  Orleans. 

The  "  Waterbury  "  Company  Group  and 
Landscape  Lens,  covering  an  8  x  10  plate, 
(price,  §8.00),  was  another  surprise  to  many. 

The  Russell  Negative  Clasp  and  Drying- 
Support  is  also  among  the  novelties  quite 
recently  introduced  by  the  Scovill  Manu- 
facturing Company.  Its  merit  is  its  sim- 
plicity. The  idea  so  carried  out  is  to  keep 
the  fingers  off  of  the  sensitive  plate  and  out 
of  the  developing  solution  by  means  which 
enable  the  operator  to  inspect  the  plate  and 
watch  the  progress  of  development,  eventu- 
ally forming  a  support  for  the  plate  while 
drying.  As  "dirt  is  matter  in  the  wrong 
place,"  then  fingers  in  the  solution  are 
"dirt,"  for  it  is  the  "wrong  place"  for 
them. 

For  illuminating  the  dark-room,  choice 
could  be  made  between  the  "Scovill  Elec- 
tric Lamp,"  the  "Waterbury  Knock-down 
or  Folding  Lantern,"  the  "Scovill  Non- 
actinic  "  Lantern  (now  provided  with 
candle  socket  as  well  as  coal-oil  burner,  and 
recently  otherwise  much  improved),  and 
the  "  W.  I.  A.  Improved  Dry-plate  Lan- 
tern," for  candle  only. 

Then,  among  the  articles  of  smaller  and 
different  nature,  were  packages  of  carbonate 
of  soda  developer,  albums  with  Slee's  pre- 
pared cards  for  photographs,  the  "  Mignon  " 
and  "Bicycle"  Camera,  the  "  Ne  Plus 
Ultra"  Outfits,  adjustable  washing  boxes, 
corrugated  protecting  cases,  the  handy 
"  View  Finder,"  photo  books,  including 
Wilson's  Photographies,  and  Scovill 's  en- 
larging, reducing,  and  copying  cameras, 
and  the  Scovill  Electric  Dark-room  Lamp, 
all  of  which  were  explained  by  expert  at- 
tendants, who  never  grew  tired  of  being- 
amiable. 

Among  the  other  good  things  they  did 


316 


THE    PHILADELPHIA    PHOTOGRAPHER. 


was  to  give  to  each  visitor  a  gilt  match-safe, 
a  copy  of  the  Photographic  Times,  whose 
generous  sheets  go  everywhere,  and  a  homoeo- 
pathic phial  filled  with  pelletone  tablets  of 
Schering's  pyro,  many  of  which,  I  fear,  have 
since  been  taken  in  mistake  for  compressed 
pills. 

As  I  tried  to  cool  my  brain  at  the  hotel, 
a  mental  kick  after  a  personal  inspection 
of  all  these  bewildering  beauties,  I  won- 
dered what  Mr.  Benjamin  Franklin,  who 
stated  his  honest  conviction  that  "  some 
day  a  young  man  would  be  able  to  travel 
from  New  York  to  Philadelphia  in  three 
days,"  would-think  if  he  saw  Scovill's  Elec- 
tric Dark-room  Lamp  used  ;  I  wondered 
what  Daguerre  would  think  of  the  East- 
man-Walker Eoll  Holder;  I  wondered 
what  old  Mr.  George  "Washington  Irving 
Adams  Vassar  would  think  his  bright  girls 
were  coming  to  if  he  saw  them  using  a 
Hoodlum  Camera — on  legs?  I  know.  His- 
tory would  be  repeated. 

"  Well  might  the  great,  the  mighty  of  the  world, 
They  who  were  wont  to  fare  deliciously 
And  war  but  for  a  kingdom  more  or  less, 
Shrink  back,  nor  from  their  thrones  endure  to 

look, 
To  think  that  way  !     Well  might  they  in  their 

pomp 
Humble  themselves,  and  kneel  and  supplicate 
To  be  delivered  from  a  dream  like  this  !" 


COMPOSITE  PHOTOGRAPHY. 

A  good  deal  has  been  said  and  written 
lately  on  this  subject,  and  even  a  book  on 
"  Shakespeare  Portraiture,"  with  composite 
photograph  illustrations,  has  been  published 
in  our  city  by  Mr.  W.  P.  Furness.  Only 
fifty  copies  have  been  printed,  and  they  are 
sold  at  $4  per  copy. 

An  interesting  paper  on  the  subject,  by 
Mr.  W.  Curtis  Taylor,  has  been  made  fami- 
liar to  our  readers  by  its  publication. 

The  Army  Medical  Museum  at  "Washing- 
ton exhibited  a  series  of  composite  photo- 
graphs of  skulls  at  the  New  Orleans  Ex- 
hibition, which  we  reviewed  last  month. 

So  far,  except  in  the  case  of  the  skulls, 
the  composites  have  been  made  up  of  various 
portraits  of  the  same  individual.  Curious, 
and  interesting  results  have  been  obtained, 


though  not,  it  is  true,  such  as  one  would 
wish  to  distribute  as  his  "  best"  phase. 

But  we  think  the  thing  is  carried  a  little 
too  far  to  be  of  any  use,  except  as  a  curiosity, 
by  Mr.  Eaphael  Pumpelly,  in  his  late  paper 
in  Science. 

His  communication  is  accompanied  by 
four  photo-engraved  illustrations.  These 
are  made  up,  not  each  one  portraits  of  the 
same  person,  but,  Fig.  1,  of  twelve  mathe- 
maticians, Fig.  2,  of  sixteen  naturalists, 
Fig.  3,  of  thirty-one  academicians,  Fig.  4, 
of  twenty-six  field  geologists,  topograph- 
ers, etc. 

The  author  says:  "What  was  wanted, 
however,  was  not  an  impression  of  one  por- 
trait on  the  plate,  but  of  all  the  thirty-one ; 
and  to  do  this  required  that  the  aggregate 
exposure  of  all  the  thirty-one  should  be 
sixty-two  seconds,  or  only  two  seconds  for 
each.  Now,  an  exposure  of  two  seconds  is, 
under  the  adopted  conditions,  too  short  to 
produce  a  perceptible  effect.  It  results  from 
this,  that  only  those  features  or  lines  that 
are  common  to  all  are  perfectly  given,  and 
that  what  is  common  to  a  small  number  is 
only  faintly  given,  while  individualities  are 
imperceptible.  The  greater  the  physical 
resemblances  among  individuals,  the  better 
will  be  the  composites.  A  composite  of  a 
family  or  of  near  relatives,  where  there  is 
an  underlying  sameness  of  features,  gives  a 
very  sharp  and  individual-looking  picture. 

It  would  be  difficult  to  find  thirty-one 
intelligent  men  more  diverse  among  them- 
selves as  regards  facial  likeness  than  the 
academicians  entering  into  this  composite. 
They  are  a  group  selected  as  a  type  of  the 
higher  American  intelligence  in  the.  field  of 
abstract  science,  all  but  one  or  two  being  of 
American  birth,  and  nearly  all  being  of 
American  ancestry  for  several  generations. 
The  faces  give  to  me  an  idea  of  perfect  equi- 
librium, of  marked  intelligence,  and,  what 
must  be  inseparable  from  the  latter  in  a 
scientific  investigator,  of  imaginativeness 
The  expression  of  absolute  repose  is  doubtless 
due  to  complete  neutrality  of  the  portraits." 

There  is  a  good  deal  of  fancy  imagination 
in  all  this.  Any  bright  photographer  look- 
ing at  Mr.  Pumpelly's  results  will  see  at 
once — will  see  that  in  the  first  three  one 
likeness  or  head  rules  the  whole ;  so  much 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


317 


so  that  the  composite  of  each  group  would 
readily  be  accepted  as  the  likeness  of  one 
and  the  same  person  taken  at  various  times. 
In  other  words,  that  by  some  strange  freak 
in  photography  the  mixing  up  —  the  com- 
positizing  of,  1,  twelve  mathematicians;  2, 
sixteen  naturalists ;  3,  thirty-one  academi- 
cians ;  all  produce  a  likeness  of  one  and  the 
same  individual !  There  is  the  same  fore- 
head, the  same  eyes,  the  same  shadows  un- 
der the  eyes,  the  same  nose  with  its  exposed 
nostrils,  the  same  lines  at  the  sides  of  the 
nose,  the  same  general  lighting,  the  same 
ears,  whiskers,  hairs — man  ! 

How  strange  that  the  admixture  of  twelve 
such  homely  phizzes  as  mathematicians  gen- 
erally have  (ye  gods !  don't  we  remember 
our  old  New  Hampshire  schoolmaster?) 
should  be  no  more  handsome  than  a  similar 
trituration  of  sixteen  homelier,  rougher  natu- 
ralists or  the  mortar  and  pestleng  of  thirty - 
6ne  academicians.  It  is  true  the  mathema- 
ticians look  a  little  the  most  confident ;  the 
naturalists  have  a  few  locks  more  of  hair 
slightly  banged,  and  the  academicians  look 
a  little  more  waggish  than  the  others ;  but 
they  all  look  much  alike,  and  the  look  per- 
vades the  fourth  composite  a  little,  too. 

Now,  it  may  be  that  Mr.  Pumpelly  will 
say,  "of  course,"  "the  one  grand  simi- 
larity is  intellect— the  pictures  prove  it,  and 
knoxvledge  will  tell,"  etc. 

But  we  have  a  feeling,  not  proven  by  ac- 
tual experiment,  however,  that  the  first  pic- 
ture exposed  to  the  plate  in  each  instance 
was  one  and  the  same  individual  (1,  as  a 
mathematician;  2,  as  a  naturalist;  3,  as  an 
academician),  and  therefore  became  master 
of  the  whole  —  i.e.,  all  exposed  after  him 
were  overruled  by  him.  Where  there  were 
certain  parts  like  a  lock  of  hair  falling  lower 
or  reaching  out  further,  would  slightly  make 
a  change  upon  the  plate — like,  as  in  a  com- 
mon blunder,  that  made  by  amateurs  of 
double-exposure  on  the  same  plate. 

The  first  image  rules,  and  any  subsequent 
exposures  of  the  plate  will  not  make  ma- 
terial changes. 

And  yet,  in  the  fore  of  all  these  faces, 
Mr.  Pumpelly  says  in  closing  his  remarks: 
"I  may  mention,  as  perhaps  only  a  re- 
markable coincidence,  that  the  positives  of 
the  mathematicians,  and  also  of  the  thirty- 


one  academicians,  suggested  to  me  at  once 
forcibly  resemble  the  face  of  a  member  of  the 
Academy  who  belongs  to  a  family  of  mathe- 
maticians, but  who  happened  not  to  be  among 
the  sitters  for  the  composite.  In  the  prints 
this  resemblance  is  less  strong,  but  in  these 
it  was  observed  quite  independently  by 
many  members  of  the  Academy.  So,  also, 
in  the  positive  of  the  naturalists,  the  face 
suggested,  also  quite  independently  to  my- 
self and  many  others,  was  that  of  a  very 
eminent  naturalist,  deceased  several  years 
before  the  sitting  for  this  composite." 

The  whole  thing  is  a  mix-tery,  surely, 
and  we  are  willing  to  hear  of  more  devel- 
opments, and  to  be  convinced. 

THE  OLD  CASE  ARGUED  AGAIN. 

One  may  sometimes  start  up  a  big  bird 
with  a  small  cry.  Not  long  ago,  in  a  letter 
to  the  editor  of  the  Amateur  Photographer 
of  London,  I  made  a  casual  remark  which 
he  printed.  What  came  of  it  appears  in  a 
letter  in  the  last  number,  beginning  thus  : 
"In  the  issue  of  this  journal  for  November 
14,  1884,  Mr.  Charles  G-.  Leland  raises  a 
question  of  great  interest.  He  saw  paper 
photographs  in  Rome  in  1846-47,  and  he 
says,  'Are  not  such  photographs  supposed 
to  have  been  made  for  the  first  time  a  year 
or  two  later?  On  this  hint  the  correspon- 
dent went  to  work  and  found  from  old  num- 
bers of  Chambers'  Journal  and  other  sources 
that  in  November,  1862,  a  Mr.  Smith,  curator 
of  the  Museum  of  Patents,  had  occasion  to 
go  to  Birmingham.  Here  a  Mr.  Price 
showed  him  some  curious  pictures  which 
had  been  found  twenty  years  before  in  a 
room  which  had  been  Matthew  Boulton's 
library.  They  were  among  lumber  which 
had  not  been  looked  at  or  touched  since 
1790.  The  pictures  were  on  paper,  and  had 
been  produced  by  some  process  which 
puzzled  both  artists  and  daguerrotypers. 
They  were  monochrome,  and  all  left-handed, 
as  if  they  had  been  produced  by  a  camera. 
They  were  on  a  kind  of  albumenized  paper, 
and  the  image  wiped  away  clearly  with  a 
little  rubbing." 

Then  other  strange  discoveries  were  made, 
which  apparently  proved  that  Matthew 
Boulton  was  acquainted  with  some  sort  of 


318 


THE    PHILADELPHIA    PHOTOGRAPHER. 


photographic  process  analogous  to  that 
which  was  practised  by  Daguerre  forty  or 
fifty  years  afterwards.  When  Mr.  Price 
found  the  paper  pictures  in  Boulton  's  library, 
he  also  found  two  plates  like  daguerrotypes 
packed  between  two  pieces  of  board.  They 
are  silvered  copper,  such  as  the  best  kind  of 
silver-plated  goods  are  made  of.  One  has 
on  it  the  picture  of  a  house,  and  is  labelled, 
"Sun  picture  of  Mr.  Boulton 's  house  before 
the  alteration  in  1791."  This  had  been 
written  by  an  old  lady,  a  relative  of  Mr. 
Price,  who  remembered  Soho  House  before 
it  had  been  altered.  The  other  plate  had 
recently  been  found  to  bear  a  faint  image 
of  the  house  in  its  latter  or  altered  state. 
The  old  lady  was  wont  to  tell  that  the  pic- 
tures were  taken  by  means  of  a  camera  ob- 
scura  placed  on  the  lawn.  Mr.  Price  actually 
found  this  camera  at  the  same  time  he  found 
the  pictures.  He  lent  it  to  a  schoolmaster 
at  Trentham,  who,  of  course,  lost  sight  of  it 
forthwith,  as  generally  happens  to  four-fifths 
of  such  loans  to  "curious"  and  "deeply 
interested"  people. 

Urged  by  Mr.  Smith,  Mr.  Price  has  made 
numerous  inquiries  during  the  last  twelve 
months  in  towns  of  Staffordshire.  He  be- 
lieves, or  has  heard,  that  it  is  extant,  doing 
duty  as  a  salt-box  in  some  village.  Mr. 
Price  knew  an  old  man  named  Townshend, 
who  died  in  1854,  at  the  age  of  ninety.  He 
had  in  early  life  been  general  aid  and  as- 
sistant to  Matthew  Boulton.  Old  Town- 
shend used  to  say  that  there  was  a  so-called 
Lunar  Society,  which  met  at  Soho  House, 
and  that  the  members  were  accustomed  to 
take  "sun-pictures"  in  a  dark  room,  with 
an  image  thrown  on  a  table',  and  fixed  by 
chemicals.  "While  these  matters  were  under 
discussion  (in  1863)  a  singular  support  for 
Price's  statement  sprung  up  in  a  wholly 
unexpected  quarter.  Miss  Meteyard  is  known 
to  have  been  engaged  on  a  life  of  Josiah 
Wedgwood,  the  potter.  While  looking 
over  family  documents  at  Etruria,  the  famous 
Wedgwood  establishment  in  Staffordshire, 
she  found  two  pictures  enclosed  among  some 
papers.  One  was  exactly  like  a  photograph 
on  silver,  and  the  other  nearly  like  it.  She 
found,  also,  entries  relating  to  a  lens,  and 
camera,  and  chemicals,  used  in  or  about 
1791,  by  Thomas  Wedgwood,  son  of  Josiah, 


and  at  that  time  quite  a  young  man.  One 
of  the  pictures  represents  a  breakfast  service 
set  out.  There  is  a  letter  extant  from  James 
Watt  to  Thomas  Wedgwood,  dated  1729,  in 
which  Watt  says  he  would  try  the  method 
of  producing  "silveres"  which  Wedgwood 
had  mentioned  to  him.  In  1802  Wedg- 
wood and  Davy  communicated  to  the  Boyal 
Institute  a  method  of  producing  "silver 
pictures,"  from  which  it  appears  that,  if 
produced  with  a  camera  obscura,  the  image 
impressed  on  silvered  paper  within  a  mod- 
erate time  was  too  faint  to  produce  a  good 
effect ;  while,  if  taken  with  the  solar  camera, 
there  was  no  method  known  for  fixing  the 
image  or  making  it  permanent. 

Miss  Meteyard,  in  a  letter  to  Mr.  Smith, 
speaks  of  the  Etruria  photographs  as  look- 
ing like  "  faded  silver  prints  on  paper."  So 
far  as  all  the  evidence  goes,  then,  it  seems 
to  show  that,  somewhere  between  1780  and 
1800,  two  processes  were  known  to  and  prac- 
tised by  the  shrewd  manufacturing  phi- 
losophers of  Warwickshire  and  Stafford- 
shire— one  for  copying  paintings  by  a  rapid 
and  cheap  mechanical  operation,  and  one 
producing  pictures  on  silvered  paper  by  a 
photographic  process. 

I  am,  of  course,  very  much  gratified  at 
having  been  the  means  of  calling  forth,  or 
recalling,  so  much  valuable  information  as 
to  the  origin  of  sun  pictures.  But  it  does 
not  in  the  least  affect  my  question,  which  is 
to  know  whether  the  photographs  exhibited 
in  Home  in  1846-47,  and  which  I  saw,  were 
the  first  good,  practical,  permanent  ones 
ever  made  ?  They  were  fairly  good,  distinct 
pictures,  of  a  brown  or  sepia-like  color,  and 
were  exposed  for  sale  in  the  cars  as  a  novel 
invention.  Can  any  one  inform  me  ?  If  it 
be  true,  as  I  have  always  heard,  that  what- 
ever will  interest  one  hundred  readers  is 
worth  publishing  in  any  journal,  these  re- 
marks on  photography  will  merit  their  type. 
This  winter  amateur  photography  is  the 
rage  in  London,  the  recent  improvements 
in  the  art  being  such  that  it  is  almost  as 
easy  to  make  a  good  photograph  as  to  copy 
a  letter  with  a  press.  Yesterday  I  saw  in 
Kegent  Street  an  exquisite  photograph  of  a 
house  and  landscape,  labelled,  "An  Ama- 
teur's First  Photograph."  As  "there  is  no 
church  so   holy  but  what   the   devil  hath 


THE    PHILADELPHIA    PHOTOGRAPHER. 


319 


therein  hys  chapell,"  so  I  hear  with  sorrow 
that  there  is  in  London  a  club  of  gentlemen 
and  ladies  who,  with  a  shocking  disregard 
of  all  the  proprieties,  devote  themselves  to 
producing  mutual  photographs  of  a  charac- 
ter which  would  grieve  every  moralist  and 
Christian. — Mr.  Charles  G-.  Leland,  in 
the  Chicago  Tribune. 

WILL  PHOTOGRAPHY  BECOME  A 
LOST  ART  ? 

[Note  from  the  author.] 

Editor  Philadelphia  Photographer  : 

As  the  scope  of  the  article  read  to  the 
Convention  at  Buffalo,  by  Mr.  Hurd,  of 
Providence,  and  published  in  The  Pho- 
tographer, was  contained  in  an  article 
written  by  me  that  appeared  in  the  Yonkers 
Gazette  many  months  ago,  and  as  ideas  are 
copied,  in  some  cases  word  for  word,  I  send 
you  my  article,  and  think  it  should  be  pub- 
lished unmutilated.  It  is  entitled,  "Will 
Photography  Become  a  Lost  Art?" 

Deeply  interested  in  photography — the 
art — I  have  written  to  give  my  evidence  to 
the  public  that  there  is  in  photography  a 
true  and  a  false;  that  one  who  has  the 
creative  faculty  is  an  artist, 

"Whether  the  instrument  of  words  he  use, 
Or  pencil  pregnant  with  ethereal  hues," 

or  camera,  and  that  machine-made  pictures 
are  not  artistic  nor  true  in  any  sense 

Wishing  you  success  in  your  endeavors  to 
preserve  the  only  art  that  ever  came  freely 
to  the  doors  of  the  poor,  I  remain 

Yours,  very  respectfully, 

John  A.  Lorenz. 

Matteawan,  ST.  Y  ,  Aug.  13,  1885 

People  who  think  that  photography  is 
advancing  should  know  some  of  the  causes 
that  are  operating  to  degrade  it,  and  then, 
having  learned  those  causes,  they  may  well 
ask  themselves  if  there  are  not  reasons  to 
fear  that  it  may  share  the  fate  of  chromo 
lithography,  and  a  photograph  become  a 
byword.  The  chemistry  of  photography  is 
advancing  wonderfully,  which  is  making  it 
a  science ;  but  can  we  say  of  it,  as  we  may 
now  say  of  wood  engraving,  that,  is  a  fine 
art  ?     No  one  who  is  not  an  artist  can  suc- 


ceed in  wood  engraving  now,  for  art  has 
driven  out  the  mere  mechanical  workers ; 
but  in  photography  the  frauds  have  nearly 
succeeded  in  destroying  the  artists  engaged 
in  the  business. 

Not  merely  are  the  cheap  Johns  who 
work  for  the  prices  of  unskilled  labor,  be- 
cause their  circumstances  and  the  quality 
of  their  work  compel  it,  bringing  photog- 
raphy into  contempt,  but  in  the  great  cities, 
where  it  is  in  the  hands  of  moneyed  men, 
who  can  fit  "up  large  rooms  regardless  of 
expense,  it  undergoes  the  same  degradation. 

Sarony,  the  greatest  artist  living,  who  is 
a  photographer,  said  recently,  "I  don't 
think  much  of  photography."  His  work 
done  with  the  camera  is  art.  His  lovely 
women  and  children,  his  radiant  faces,  faces 
of  pensive  purity,  faces  of  intense  thought, 
and  faces  of  action  ;  his  choice  of  the  view 
of  the  face,  the  way  the  light  falls  on  it,  all 
show  the  divine  faculty.  Let  one  see 
Sarony's  drawings  and  it  is  then  plain  why 
his  photographs  are  different  from  others. 
To  make  a  photograph  requires  a  knowledge 
of  certain  chemicals.  To  make  a  work  of 
art  requires  a  knowledge  of  drawing. 

Will  Sarony's  contempt  for  photographs 
become  the  feeling  of  people  of  taste  ?  We 
believe  that  it  will,  unless  those  who  make 
the  true  photographic  portrait,  the  likeness 
(the  good  old  word  is  now  disused,  it  would 
be  a  misnomer),  continue  both  by  example 
and  in  word  to  show  the  difference  between 
such  portraits  and  the  vile  stuff  that  goes  by 
the  same  name. 

No  agency  employed  in  photography  has 
so  changed  the  character  of  the  work  as  re- 
touching the*  negative.  Why  it  is  called 
retouching  we  do  not  know,  as  it  is  the  first 
touching  a  negative  gets.  It  enables  the 
artist  to  give  to  a  picture  what  it  lacked  in 
the  early  days  of  photography — something 
of  the  elevation  and  depression  of  the  fea- 
tures— the  fine  detail  of  a  drawing  instead 
of  white  paper  and  outlines.  That  is  what 
retouching  may  and  should  do  ;  but  is  usu- 
ally employed  for  quite  a,  different  purpose 
— to  make  people's  pictures  look  less  like 
them.  Old  ladies  of  both  sexes  have  no 
wrinkles,  and  there  are  no  thin  faces  in  this 
age  of  progress.  What  the  dentist  has  not 
been  able  to  accomplish  the  photographer 


320 


THE   PHILADELPHIA    PHOTOGKAPHEP. 


has.  Such  pictures  of  our  departed  friends 
will  not  disturb  us  with  their  look  of  life, 

"  Like  a  picture  that  magic  has  charmed  from 
its  frame — 
Lifeless,  but  lifelike,  and  ever  the  same." 

Nothing  so  degrades  photography  as  re- 
touching in  the  way  that  it  is  usually  prac- 
tised. 

Another  reason  of  the  decline  of  photog- 
raphy as  an  art,  in  proportion  as  it  advances 
as  a  science,  is  the  tendency  of  the  public  to 
patronize  cheapness  rather  than  quality. 
Men  like  Sarony  and  Kurtz  will  always 
have  appreciators,  who  know  their  worth 
and  will  pay  for  their  work;  but  unless  a 
stand  is  made  against  the  demoralizing  in- 
fluence of  cheapness,  their  customers  will 
not  be  numerous  enough  to  enable  them  to 
retain  their  high  standard  of  excellence, 
and  they  will  be  compelled  to  lower  their 
prices,  when,  of  course,  the  quality  must 
come  down,  too.  An  artist  cannot  continue 
the  thankless  labor  of  giving  art  to  people 
who  think  only  of  cheapness. 

Notice  the  difference  of  the  methods  of 
men  of  business  in  photography  and  the 
real  artists  ;  the  clap-trap  employed  by  the 
former;  the  fantastic  styles  of  mounting; 
the  name  of  a  noted  artist  applied  to  a 
shape  of  picture,  etc. 

We  were  much  surprised  at  the  quality 
of  work  done  in  the  city  of  Washington. 
Walking  along  Pennsylvania  Avenue,  on 
a  pleasant  day,  one  meets  children  with 
sweet  faces  and  graceful  forms,  ladies  of 
every  type  of  beauty,  with  dresses  most 
tastefully  designed,  and  rich  in  color  and 
texture,  and  happy  combination  of  colors. 
What  a  rare  chance  for  full  figures,  for 
half  lengths,  for  heads,  for  small  groups, 
for  children  of  ten  and  twelve  years  and 
adults  grouped  together.  Something  of  this 
one  would  expect  to  find  in  the  galleries  of 
Washington ;  but  he  will  be  disappointed. 
Now  and  then  he  will  come  across  a  portrait 
made  by  Mr.  Fasset  (who  had  a  gallery 
there  some  years  ago),  which  shows  the  true 
taste  of  the  artist.  Fine  samples  of  his  work 
we  saw  are  pictures  of  Mrs.  Senator  Dorsey 
and  Senator  Anthony.  Mr.  Fasset  believed 
in  art;  his  pictures  have  the  nameless  grace 
which  only  the  few  can  give  to  their  pro- 


ductions the  world  over.  Mrs.  Fasset  painted 
the  picture  of  the  electoral  tribunal,  which 
John  Sherman  is  endeavoring  to  have  the 
Government  purchase  for  $15,000. 

We  will  expect  to  see  some  fine  work 
from  Mr.  John  D.  Merritt,  who  has  lately 
opened  a  gallery  in  Washington.  We 
know  of  his  good  taste.  Let  him  elevate 
the  standard  of  photography  in  the  capital. 
He  can  do  it.  That  will  be  a  kind  of  civil 
service  reform  much  needed  there. 

J.  A.  L. 

ERRORS  IN  THE  REPORT  OF  OUR 
PHOTO  CONVENTION. 

The  short-hand  reporting  of  discussions 
of  a  large  or  technical'  character  in  large 
assemblies  is  difficult,  owing  to  the  many 
phrases  and  peculiar  terms  used,  and  the 
distance  the  speakers  are  from  the  reporter. 
That  there  are  many  errors  in  the  report  of 
the  proceedings  of  our  last  Convention  at 
Buffalo,  is  evident  to  those  who  took  part  in 
the  discussions,  and  to  all  who  read  it  care- 
fully. 

In  many  instances  the  sense  of  the  re- 
marks is  entirely  destroyed,  and  a  far  differ- 
ent meaning  conveyed  to  what  was  intended. 
I  do  not  blame  Dr.  Morgan  for  the  mistakes 
which  appear  in  the  report,  although  believ- 
ing that  I  got  the  worst  of  it.  On  the  con- 
trary, it  is  my  opinion  that  no  man  could 
have  done  better  under  the  circumstances  ; 
but  I  earnestly  protest  against  having  said 
such  nonsence. 

What  good  can  such  reports  be  to  persons 
who  were  not  present,  when,  as  an  example, 
the  leaving  out  or  adding  of  the  simple 
word  "  not "  changes  the  meaning  of  the 
speaker  very  materially,  and  renders  his 
advice  or  remarks  very  misleading  or  ridicu- 
lous? 

I  now  fully  share  the  opinion  of  our  friend 
Dr.  Vogel,  who  told  me  during  his  last  visit 
that  he  had  the  same  sad  experience,  and 
that  he  would  rather  not  speak  in  a  meeting 
when  a  stenographer  was  present. 

Tours  truly,  G-.  Cramer. 


Photographs  of  dogs  come  good  when 
the  beasts  are  lost,  strayed,  or  stolen. 


THE   PHILADELPHIA    PHOTOGEAPHEE. 


321 


MY  DEVELOPER  BOTTLE. 

I  enclose  sketch  and  description  of  a 
bottle  for  holding  developing  or  other  solu- 
tions in  use  in  the  dark-room  or  laboratory, 
which,  from  an  experience  of  over  three 
months,  I  can  assert  to  be  very  convenient 
and  effective.  It  thoroughly  protects  the 
solutions  from  contact  with  the  air.  The 
contents  come  in  contact  with  nothing  but 
glass,  so  that  there  is  no  danger  of  contami- 
nation and  deterioration  from  organic  sub- 
stances, sulphur,  etc.,  as  might  happen  with 
apparatus  requiring  rubber  tubing,  etc. 
Anybody  can  make  it,  requiring  about  five 
cents'  worth  of  glass  tubing  and  a  bottle 
with  a  somewhat  wide  mouth  (I  use  empty 
pickle  bottles)  and  a  good  cork.  The  glass 
tubes  can  be  bent  in  the  flame  of  a  spirit 
lamp  or  Bunsen  burner,  or  over  an  ordinary 
gas  jet.  These  bottles  are  always  ready  for 
action,  and  the  cork  need  never  be  removed 
until  the  bottle  is  empty,  thus  saving  time 
and  trouble,  as  you  only  use  one  hand  to 
pick  the  bottle  up. 

To  protect  pyro  solution  use  a  layer  of 
oil  (I  use  good  headlight)  about  an  inch 
thick.  Same  for  ferrous  sulphate  or  ferrous 
oxalate  solution.  The  potassic  oxalate  solu- 
tion has  a  disagreeable  habit  of  crawling 
up  the  inside  of  the  bottle  and  around  the 
neck.  A  thin  layer  of  oil  is  a  sufficient 
preventive  of  this.  The  pyro  solution  seems 
to  exert  a  slight  action  on  a  fresh  layer  of 
oil,  which  causes  some  discoloration  of  the 
pyro  solution,  but  this  ceases  after  a  short 
time,  so  I  think  it  best  to  keep  the  same  oil 
on  top  when  fresh  developer  is  made  up,  as 
the  action  will  be  less  than  if  fresh  oil  is 
used.  I  have  pyro  solution  on  hand  which 
has  been  made  up  for  about  six  weeks.  It 
changed  in  a  few  days  to  a  sherry-wine 
color,  but  has  got  no  deeper  in  color  for 
several  weeks,  and  is  perfectly  free  from 
any  muddiness  or  granular  deposit.  This, 
I  think,  is  a  good  test.  I  attribute  most  of 
the  discoloration  to  fresh  oil,  but  perhaps  it 
was  impure  sulphide  or  pyro.  It  cannot  be 
caused  by  contact  with  oxygen. 

The  method  of  operating  is  plain.  Simply 
blow  in  the  tube  A,  and  the  pressure  on  the 
liquid  will  force  it  out  of  tube  B  as  desired. 
Don't  tip  up  the  bottle  towards  the  lower 


end  of  B,  or  it  will  be  apt  to  act  as  a  siphon. 
.For  the  same  reason  the  bent  portion  of  B 
should  not  have  the  end  lower  than  the 
level  of  the  liquid  in  the  bottle.  If  this 
bottle,  in  its  simple  form  is  not  elaborate 
enough  to  suit,  just  attach  a  piece  of  rubber 


tubing  to  A  with  a  rubber  bulb  (such  as 
are  fitted  to  the  ordinary  atomizers)  at  the 
end,  and  squeeze  this  in  the  hand.  This 
will  enable  you  to  allow  the  bottle  to  stand 
on  a  shelf,  which  may  be  a  gain  when  using 
large  bottles. 

I  would  be  greatly  pleased  to  hear  from 
anybody  who  may  give  this  a  trial,  in  re- 
gard to  any  troublesome  or  other  experi- 
ence they  may  have.         Yours,  etc., 

H.  SCHOONMAKEK, 
347  Race  Street,  Cincinnati,  0. 

I  have  ascertained  that  the  developer  bot- 
tle which  I  described  a  few  days  ago  is  not 
a  new  thing  at  all.  No  use  to  publish  it 
unless  to  emphasize  its  great  utility  for  the 
purpose.  I  find  it  ne  plus  ultra  for  any 
solution  much  used — developer  mixed,  pyro, 
potassic  oxalate,  ferrous  sulphate,  soda  or 
ammonia,  hypo,  mercuric  chloride  for  in- 
tensification, etc.  H.  SCHOONMAKER. 


322 


THE    PHILADELPHIA    PHOTOGrKAPHEP. 


AN   ATTEMPT   TO    PHOTOGRAPH 

THE  SOLAR  CORONA  WITHOUT 

AN  ECLIPSE. 

Since  writing  my  last  communication  on 
this  subject,  I  have  made  a  series  of  inves- 
tigations with  the  object  of  improving  my 
apparatus,  if  possible,  and  of  obtaining  some 
quantitative  measurements  of  the  light  re- 
flected by  the  atmosphere  near  the  sun. 
To  avoid  the  reflection  of  the  light  from 
the  surfaces  of  the  glass,  I  removed  my 
achromatic  lens,  and  substituted  for  it  a 
simple  spectacle-glass  of  one  and  three- 
eighths  inches  in  diameter,  and  forty-nine 
inches  focus.  As  the  diameter  was  rela- 
tively so  small,  the  inclination  of  the  sur- 
faces to  one  another  at  any  point  was  neces- 
sarily very  slight,  and  this  fact,  combined 
With  the  extreme  thinness  of  the  glass,  ren- 
dered the  multiple  internal  reflections  al- 
most entirely  harmless.  Five  diaphragms 
were  used  between  the  lens  and  plate,  cut- 
ting off  totally  all  internal  reflection  from 
the  tube.  The  same  drop-shutter  was  used 
as  before,  working  just  in  front  of  the  lens. 

Several  observers  have  attempted  to  com- 
pare the  brilliancy  of  the  corona  as  seen 
during  a  total  eclipse  with  that  of  the  full 
moon.  Thus  Belli,  in  1842,  and  Wilson,  in 
1860,  find  the  corona  brighter  than  the 
moon,  while  Halley,  in  1715,  Billebeck,  in 
1851,  and  Curtis,  in  1869,  find  the  moon 
brighter  than  the  corona.  Other  observa- 
tions by  W.  O.  Boss,  in  1870,  and  by  J.  C. 
Smith,  in  1878,  would  indicate  that  the 
corona  was  somewhat  brighter  than  the 
full  moon. 

A  photograph  of  the  solar  corona,  in 
order  to  be  of  any  use  whatever,  should 
show  something  more  than  a  thin  uniform 
ring  of  light  around  the  sun.  It  should 
show  some  structure,  some  details  of  the 
rays  and  rifts  visible  at  the  time  of  an 
eclipse.  The  only  observations  which  I 
have  been  able  to  find  of  the  intrinsic  bright- 
ness of  different  portions  of  the  corona, 
were  those  by  Prof.  John  W.  Langley,  in 
1878.  He  found  that  the  corona  at  V  dis- 
tance from  the  sun  had  a  brilliancy  equal 
to  six  full  moons,  while  at  4/  distance  it 
was  only  equal  to  0.1  of  a  full  moon.  Un- 
fortunately for   our   present   purpose    these 


observations  were  visual  and  not  photo- 
graphic, but  they  will  give  us  an  idea  of 
the  size  of  the  figures  with  which  we  are 
dealing.  In  order,  then,  for  a  photographic 
plate  to  show  any  of  the  irregularities  of 
detail  in  the  corona,  such  as  the  contrast 
between  a  ray  and  one  of  the  neighboring 
rifts,  it  must  be  capable  of  showing  contrasts 
of  light  which  do  not  vary  from  one  another 
by  more  than  about  one-tenth  the  intrinsic 
brilliancy  of  the  full  moon. 

A  series  of  investigations  was  next  insti- 
tuted to  determine  what  excess  of  brilliancy 
it  was  necessary  for  one  surface  to  have 
over  another,  in  order  that  the  contrast  be- 
tween them  might  be  rendered  perceptible 
in  a  photograph.  The  difference  of  bril- 
liancy required  by  an  acute  eye  amounts  to 
between  one  and  two  per  cent.  One  sees  it 
sometimes  stated  that  the  camera  is  capable 
of  distinguishing  contrasts  which  are  quite 
invisible  to  the  eye.  This,  I  think,  is  a 
serious  error.  If  both  sources  of  light  are 
of  great  brilliancy,  though  differing  con- 
siderably, the  eye  may  not  perceive  a  very 
great  difference  between  them,  while  a 
negative  with  a  very  short  exposure  may 
show  a  very  considerable  difference.  If, 
however,  the  eye  be  protected  by  colored 
glasses,  the  contrast  will  be  as  great  as  that 
presented  by  the  negative. 

But  the  question  which  occurs  at  present 
is  not  where  great  differences  of  light  exist, 
but  where  the  differences  are  very  small,  of 
only  a  few  per  cent.  The  inferiority  of  the 
best  gelatine  plates  to  the  human  eye  in 
this  respect  is  very  readily  shown  by  an  at- 
tempt to  photograph  distant  mountains.  It 
will  be  found  that  it  is  perfectly  impossible, 
even  in  the  clearest  weather,  to  photograph 
at  a  much  greater  distance  than  fifty  or 
sixty  miles.  I  recently,  on  a  very  clear 
morning,  made  a  mountain  ascent  with  a 
camera.  Mountains  over  ninety  miles  dis- 
tant were  readily  recognized  and  distin- 
guished, but  on  pointing  the  camera  in 
their  direction,  nothing  over  forty  miles 
distant  could  be  photographed.  There  was 
no  question  but  that  mountains  at  a  much 
greater  distance  than  ninety  miles  could 
have  been  seen  had  there  been  any  high 
enough  to  be  visible.  Every  photographer 
who  has  visited   mountain  regions  is  per- 


THE    PHILADELPHIA    PHOTOGRAPHER. 


323 


fectly  well  aware  of  the  disabilities  under 
which  he  labors  in  this  respect. 

Another  illustration  of  the  same  thing  is 
the  impossibility  of  photographing  the  moon 
in  the  daytime,  when  the  sun  is  high  above 
the  horizon.  Although  the  moon  may  be 
perfectly  distinct  to  the  eye,  the  negative 
shows  no  trace  of  it.  This  fact  of  itself,  I 
think,  has  a  direct  bearing  on  the  question 
in  point. 

But  in  addition  to  these  general  facts  it 
was  thought  that  some  quantitative  results 
would  be  desirable.  Besides  the  chloride 
plates  which  I  had  been  using,  several 
well-known  kinds  of  bromide  plates  were 
tested  at  the  same  time.  These  were  se- 
lected with  especial  regard  to  the  strong 
contrast  qualities  which  they  were  supposed 
to  possess.  The  plates  tested  were  the  An- 
thony chloride,  the  Carbutt  B,  the  Allen 
and  Bowell,  and  the  Stanley.  Different 
portions  of  the  plate  were  exposed  to  a  uni- 
form illumination  for  various  times,  and  it 
was  found  that  all  the  plates  gave  the  same 
result,  and  that  if  the  division  lines  between 
the  areas  were  very  sharp,  and  over  an  inch 
in  length,  as  small  a  contrast  as  five  pet- 
cent,  could  be  detected,  but  if  the  division 
lines  were  not  over  one-eighth  of  an  inch 
in  length,  even  if  one  knew  just  where  to 
look  for  them,  it  was  impossible  to  recog- 
nize a  difference  of  less  than  ten  per  cent, 
upon  the  negative.  As  the  coronal  rays  on 
the  photograph  would  be  less  than  one- 
eighth  of  an  inch  in  length  in  order  to 
reach  out  beyond  S/,  ten  per  cent,  was  se- 
lected as  the  limit  of  contrast  necessary  to 
obtain  a  satisfactory  result. 

Since  the  light  reflected  by  the  corona  at 
3/  distance  from  the  sun  is  only  0.1  that  of 
full  moon,  in  order  to  distinguish  between 
a  coronal  ray  and  a  neighboring  rift  at  that 
distance,  it  is  necessary  that  the  light  re- 
flected from  the  earth's  atmosphere  in  that 
region  should  not  exceed  in  intrinsic  bril- 
liancy that  reflected  by  the  moon  itself. 

A  series  of  observations  was  next  made  to 
determine  the  relative  light  of  the  sun  and 
of  the  sky  in  its  immediate  vicinity.  The 
method  employed  was  as  follows:  Half  of  the 
photographic  plate  was  covered  with  thick 
yellow  paper,  a  diaphragm  of  0.016  centi- 
metre was  placed  in  front  of  the  lens,  and 


four  exposures  of  different  parts  of  the  plate, 
lasting  respectively  for  two,  four,  eight,  and 
sixteen  seconds,  were  made.  The  plate  was 
then  taken  into  the  dark-room,  and  the  ex- 
posed portion  protected  by  yellow  paper, 
which  was  removed  from  the  other  half  of  the 
plate.  The  telescope  was  now  so  placed  that 
the  sun  should  be  hidden  behind  a  paper 
disk,  fixed  at  about  twenty  feet  distant.  A 
diaphragm  of  one  centimetre  aperture  was 
placed  in  front  of  the  lens,  and  an  exposure 
of  four  seconds  given  to  the  sky.  On  de- 
velopment, half  of  the  plate,  except  where 
cut  by  the  image  of  the  disk,  was  found 
uniformly  darkened.  On  the  other  half 
were  four  images  of  the  sun,  two  of  which 
were  lighter  and  one  darker  than  the  sky. 
The  third  image  of  eight  seconds  exposure 
was  of  exactly  the  same  darkness  as  the 
sky,  and  it  was  accordingly  shown  that 
since  the  diaphragm  used  with  the  sky  was 
about  four  thousand  times  larger,  the  sun 
was  about  two  thousand  times  as  bright 
photogi'aphically  as  the  sky  in  its  immedi- 
ate vicinity.  A  number  of  plates  were 
taken  on  different  days,  when  the  sky 
seemed  perfectly  clear,  and  the  results  indi- 
cated that  the  number  varied  in  general 
between  a  thousand  and  four  thousand. 
Owing  to  the  diffraction  produced  by  the 
small  diaphragm  used  in  photographing  the 
sun,  which  rendered  the  imaeje  1.6  times 
larger  than  it  really  should  be,  all  these 
figures  must  be  multiplied  by  1.6. 

Comparisons  were  then  made  in  a  similar 
manner  between  the  sky  near  the  sun,  and 
the  full  moon,  the  latter  taken  with  the  full 
aperture  of  the  lens,  3.65  centimetres,  and 
the  former  with  an  aperture  of  0.204  centi- 
metre. Under  these  circumstances,  with 
exposures  of  fifteen  seconds,  the  moon  and 
sky  darkened  the  plate  to  about  an  equal 
amount.  The  result  of  a  number  of  experi- 
ments indicated  that  the  sky  in  the  immedi- 
ate vicinity  of  the  sun  was  about  four  hun- 
dred times  the  intrinsic  brilliancy  of  the  full 
moon.  The  ratio  of  the  sky  to  the  sun  on 
this  same  day  was  fifteen  hundred,  so  that 
the  light  of  the  moon  was  to  that  of  the 
sun  as  one  to  six  hundred  thousand.  In 
some  experiments  which  I  made  in  1879,  1 
found  the  visual  ratio  was  one  to  three  hun- 
dred and  fifty  thousand.     On  account  of  the 


324 


THE    PHILADELPHIA    PHOTOGRAPHER. 


extreme  blueness  of  the  sun,  it  was  to  be 
expected  that  the  photographic  ratio  should 
he  somewhat  higher  than  the  visual  one. 

I  next  tried  comparing  directly  the  light 
of  the  sun  and  moon  on  the  same  plate,  in 
order,  if  possible,  to  get  a  check  on  my  re- 
sults. The  results,  however,  were  unsatis- 
factory, the  ratio  coming  out  as  1  to  300,000. 
or  only  one-half  the  former  amount.  Owing 
to  the  difficulties  of  the  experiments,  this 
discrepancy  may  very  well  be  referred  to  in- 
accuracies of  the  photographic  plate,  and 
changes  in  the  sun's  and  moon's  light 
during  the  course  of  the  experiments.  In 
all  the  results  with  regard  to  the  sun,  it 
must  be  remembered  that  the  figures  must  be 
multiplied  by  1.6,  on  account  of  diffraction. 
The  two  ratios,  then,  of  the  light  of  the 
moon  to  that  of  the  sun,  stand  as  1  to 
960,000,  and  1  to  480,000,  and  of  these,  I 
think,  in  connection  with  my  visual  result, 
the  former  is  the  more  correct  figure.  The 
moon  at  the  time  of  these  observations, 
June  26,  12  m.,  had  an  altitude  of  29°, 
when  the  atmospheric  absorption  would 
amount  to  about  twenty  per  cent.  Making 
this  correction,  we  have  the  photographic 
ratio  of  the  moon  to  the  sun,  as  1  to  760,000. 
or  about  twice  as  great  as  that  to  the  eye. 
This  is,  of  course,  only  an  approximate  re- 
sult, as  only  very  few  observations  were 
made,  and  as  it  was  entirely  outside  the 
course  of  our  inquiry. 

Returning,  then,  to  our  original  subject, 
we  found  the  sky  near  the  sun  four  hun- 
dred times  as  bright  as  the  full  moon.  Cor- 
recting for  atmospheric  absorption,  this 
figure  becomes  three  hundred  and  twenty 
times.  But  we  found  before,  that  in  order 
to  detect  the  contrast  between  a  coronal  ray 
and  a  neighboring  rift,  the  light  of  the  sky 
must  not  exceed  that  of  the  full  moon.  It 
therefore  seems  that  even  in  the  clearest 
weather  the  reflected  light  of  the  atmosphere 
is  three  hundred  times  too  strong  to  obtain 
the  faintest  visible  image  of  the  true  coronal 
rays. 

In  connection  with  these  experiments,  I 
took  a  few  photographs  of  the  sun  with 
my  improved  apparatus.  In  order  to  dimin- 
ish still  further  the  reflection  of  the  light 
from  the  surfaces  of  the  lens,  I  so  placed 
the  telescope  that  the  sun  was  almost  com- 


pletely hidden  behind  the  high  steeple  of  a 
neighboring  church.  A  vast  improvement 
in  the  results  was  at  once  obtained.  The 
sun  stood  out  sharply  defined  on  a  perfectly 
uniform  background  of  blue  sky.  There 
was  not  the  slightest  trace  of  a  fringe  either 
where  the  steeple  crossed  the  disk,  or  where 
the  sky  came  in  contact  with  the  solar  limb. 
The  day  was  beautifully  clear,  and  at  six  in 
the  afternoon  some  more  photographs  were 
taken ;  but  now,  although  the  steeple  was 
as  clear  as  ever,  all  around  the  limb  of  the 
sun  appeared  the  atmospheric  halo,  extend- 
ing out  in  all  directions,  and  gradually 
growing  fainter  as  it  receded  from  the  sun. 
We  may,  therefore,  in  general,  say  that 
with  properly  constructed  apparatus  in  per- 
fectly clear  weather,  no  halo  whatever  ap- 
pears around  the  sun.  It  is  only  in  slightly 
hazy  weather,  or  as  the  sun  approaches  the 
horizon,  that  the  appearances  are  produced 
which  have  been  elsewhere  described. 

In  brief,  the  result  of  my  researches 
would  seem  to  indicate:  1st,  that  without  a 
total  eclipe  it  ought  to  be  impossible  to  pho- 
tograph the  solar  corona;  2d,  having  tried, 
I  have  failed  to  photograph  the  corona,  but 
have  obtained  the  result  which  theory  indi- 
cated.— Wa.  H.  Pickering,  in  Science. 


THE  AR0USEMENT  AT  BUFFALO .* 

Cleveland,  Ohio,  August  21,  1885. 
Editor  Philadelphia  Photographer  : 

I  had  thought  to  make  a  statement  in  the 
matter  of  charges  made  against  the  Execu- 
tive Committee  at  the  next  Convention, 
when  the  Investigating  Committee  should 
report,  but  don't  feel  like  waiting  so  long  a 
time,  and  ask  you  to  give  publicity  to  my 
showing. 

The  charge,  as  I  understand,  is  the  serious 
one  of  misappropriating  money. 

It  is  made  against  the  Executive  Com- 
mittee. 

The  misappropriated  (?)  money  was  used 
in  the  payment  of  railroad  fares,  hotel  bills, 
and  in  a  small  way  for  time  lost  from  busi- 
ness and  home  duties  while  in  the  service 
of  the  Association. 

*  Received  one  day  too  late  for  our  last  issue. 
—Ed. 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


325 


The  Constitution  says  :  "  The  Executive 
Committee,  of  which  the  President,  Secre- 
tary, and  the  Treasurer  shall  be  members, 
shall  have  charge  of  the  general  business  of 
the  Association." 

Il  does  not  say  it  shall  be  paid  for  its  ser- 
vices, beyond  the  Secretary  and  Treasurer. 
It  does  not  say  it  shall  not  be  paid. 

In  the  course  of  their  duties  each  member 
is  required,  when  a  meeting  is  called,  to 
leave  his  own  personal  business,  travel  in 
some  instances  hundreds  of  miles,  give  sev- 
eral days'  time  and  his  best  ability  in  ar- 
ranging the  business  for  a  coming  conven- 
tion. During  the  year  he  is  called  upon  to 
do  much  correspondence  with  other  mem- 
bers of  the  committee,  with  stockdealers 
and  manufacturers,  and  with  members  want- 
ing information.  In  his  own  locality  he 
must  effect  contracts  with  railways  forspecial 
rates  in  carrying  members  to  and  from  con- 
vention, and  he  must  advise  by  circular  all 
photographers  within  a  radius  of  one  to  two 
hundred  miles  of  such  secured  rates  while 
urging  their  attendance. 

He  must  write  communications  for  the 
journals  urging  and  encouraging  a  large  at- 
tendance. 

When  convention  time  comes  he  must  be 
on  hand  in  advance  of  the  opening,  and 
must  remain  until  after  the  close,  during 
which  time  he  must  be  in  harness  and  at 
work. 

The  Executive  Committee  is  empowered 
to  make  contracts,  to  employ  help,  and  to 
pay  all  expenses  incident  to  holding  con- 
ventions. It  is  competent  to  determine 
what  are  proper  expenses. 

It  was  the  opinion  of  the  Committee, 
when  settling  up  the  expenses  and  paying 
the  bills  for  conventions  at.  Milwaukee  and 
at  Cincinnati,  that  "  the  laborer  was  worthy 
of  his  hire" — a  queer  old  notion  indulged 
in  by  many. 

It  believed  the  success  brought  about 
through  its  efforts,  which  showed  by  a  good 
balance  in  the  treasury,  justified  the  pay- 
ment of  that  labor  as  a  legitimate  expense. 
So  it  did,  like  men  who  had  done  good  work 
and  were  entitled  to  pay,  vote  to  each  mem- 
ber, not  full  compensation,  but  what  would 
decently  pay  his  expenses. 

There  was  no  reason  why  the  Committee 


should  not  do  this,  but  good  reason  why  it 
should. 

In  the  past,  when  each  convention  held 
left  the  Association  some  hundreds  or  thous- 
ands in  debt,  it  was  more  a  work  of  patriot- 
ism, and  the  officers  had  naturally  to  be 
content  with  the  distinction  conferred. 

In  later  years,  when  more  enthusiasm  has 
been  manifest,  and  the  Association  abund- 
antly able  to  pay,  it  is  very  proper  it  should 
be  done. 

The  Convention  just  closed  has  been  a 
fine  success  in  a  pecuniary,  as  well  as  an 
educational  sense.  The  announcement  is 
made  that  over  $1400  is  in  the  treasury. 
The  men  who  have  been  instrumental  in 
making  this  fine  success  are  entitled  to  com- 
pensation, at  least  in  a  sum  sufficient  to 
cover  their  expenses  while  in  attendance  at 
convention  and  performing  the  work  of  the 
Association. 

The  Association  should  not  expect  to  se- 
cure competent  and  reliable  service  gratis. 
It  is  time  this  fact  was  recognized  and  acted 
upon. 

Men  may  serve  one  year  for  glory,  but 
are  not  willing  to  continue  year  after  year 
on  the  same  terms. 

At  present,  the  Association  is  fortunate  in 
being  splendidly  officered,  and  could  hardly 
be  in  a  more  prosperous  condition.  That  it 
continue  so  is  my  hearty  wish.  There  is  a 
way  to  keep  it  so,  but  it  does  not  lie  in  the 
direction  of  piling  up  money  and  giving 
votes  of  thanks  only  for  services. 
Yours  truly, 

J.  F.  Etdek. 

GELATIN  FILM  NEGATIVES. 

BY  ROBERT  DE  CHENEVIERE. 

Preparation  of  the  Negative  Film. — Ordi- 
nary white  writing  paper  is  allowed  to  lie 
for  \  short  time  in  water,  then  placed  upon 
a  clean  glass  plate,  which  has  been  previously 
rubbed  with  a  little  wax,  and  bordered 
around  with  strips  of  albumen  or  gum 
paper.  When  the  paper  is  dry,  it  is  stretched 
tightly  over  the  plate,  and  sprinkled  over 
with  talc  powder,  the  excess  of  powder, 
brushed  off  with  a  camel's  hair  pencil.  The 
paper  is  now  coated  with  a  mixture  of, 


326 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


Ether      .         .         .         .50  grammes. 
Alcohol  ....     50  " 

Pyroxylin       .         .         .        L  " 

Oil  of  rieinus  .         .       8  drops. 

As  soon  as  the  collodion  is  perfectly  set, 
the  bromide  of  silver  gelatine  emulsion  is 
spread  over  smoothly  by  means  of  a  glass 
rod.  As  soon  as  the  emulsion  is  set,  the 
edges  are  cut  round  by  a  penknife,  and  the 
film  easily  lifted  up  and  cut  to  any  desired 
size. 

Another  method  consists  in  coating  over 
the  same  kind  of  paper  or  albumen  paper 
laid  upon  a  warm  plate  with 


Wax      . 
Benzine 


2  parts. 
.  100      " 


The  paper  so  prepared  is  dampened,  and, 
as  in  the  former  recipe,  stretched  over  a 
clean  glass  plate,  and  coated  with  the  gela- 
tine emulsion.  This  plan  affords  more  bril- 
liant results  than  the  former ;  besides,  the 
sensitive  film  seems  to  adhere  firmer  to  the 
paper,  a  circumstance  desirable  for  the  sub- 
sequent manipulations  to  which  it  is  to  be 
subjected. 

A  third  method  :  A  sheet  of  double  trans- 
portation paper  is  stretched  over  a  glass 
plate,  and  coated  with  collodion  as  before ; 
and,  after  setting,  separated  from  the  glass. 
A  second  glass  plate  is  sprinkled  with  talc 
powder,  coated  with  emulsion,  and  laid  after 
the  setting  of  the  gelatine  (about  a  quarter 
of  an  hour)  in  a  dish  of  distilled  water. 
The  collodionized  paper  is  also  laid  in 
another  dish  of  water,  and  when  wet 
through,  laid  upon  the  gelatine  plate,  the 
collodion  surface  against  the  gelatine  film. 
The  plate  and  paper  are  now  taken  from  the 
water,  and  contact  thoroughly  secured  by 
means  of  gentle  pressure.  The  paper  is  now 
cut  around  the  edges  of  the  glass,  and,  if 
properly  performed,  the  gelatine  film  will 
detach  itself  from  the  glass,  and  be  found 
adhering  to  the  paper,  in  which  condition  it 
is  ready  for  exposure  in  the  camera.  In 
separating  the  film  from  the  glass,  care 
must  be  taken  to  do  it  quickly  and  without 
any  pause,  otherwise  there  is  danger  of  tear- 
ing the  film. 

Fourth  method:  Ordinary  white  paper 
or  albumen  paper  is  waxed  as  before,  and 
the   glass   plate  strewn   with   talc   powder, 


coated  with  gelatine,  and  after  the  setting, 
together  with  the  paper,  put  in  the  water 
bath.  If  both  are  carefully  taken  out,  it 
will  be  found  that  the  two  surfaces  are  in 
contact,  and  all  that  is  necessary  is  to  sepa- 
rate them.  This  process  avoids  the  coating 
of  the  paper  with  collodion,  as  in  the  first 
method.  These  leaves  or  films  may  be  pre- 
served in  a  book,  so  as  to  keep  them  flat. 

Development. — The  films  are  laid  in  dis- 
tilled water,  and  suffered  to  lie  there  until 
they  become  perfectly  flat.  The  water  is 
then  poured  off  and  the  developer  applied. 
When  the  shadows  of  the  negative  begin  to 
appear  gray,  the  developer  is  poured  off,  the 
negative  well  washed,  and  put  in  a  bath  of 
hypo  and  alum,  where  it  is  allowed  to  remain 
until  all  the  unreduced  bromide  of  silver  is 
eliminated,  which  is  indicated  by  the  paper 
becoming  pure  white.  The  negative  is  then 
washed  for  hours.  If  it  is  desirous  to  have 
a  firm,  inflexible  negative,  take  a  glass  plate 
sprinkled  with  talc,  and  coat  it  with  collo- 
dion; then,  after  the  setting,  with  a  mix- 
ture of, 


Water  . 
White  gelatine 


100  parts. 
40      " 


As  soon  as  this  sets,  treat  the  plate  to  a  bath 
of  water.  In  the  same  bath  place  the  nega- 
tive film  ;  let  it  remain  therein  about  five 
minutes,  and  press  it  in  contact  with  the 
gelatinized  glass.  The  attached  film  is  al- 
lowed to  dry  thoroughly,  and  the  paper  cut 
about  6  mm.  from  the  edge  with  a  penknife. 
The  paper  is  loosened  from  the  glass  plate. 
If  a  thin  film  is  needed,  the  glass  plate  is 
sprinkled  with  the  talc  and  coated  with  col- 
lodion. The  negative  is  dipped  in  a  thin 
gelatine  solution,  laid  upon  the  collodionized 
plate,  and  the  excess  of  gelatine  pressed  out. 
The  whole  is  allowed  to  dry  and  the  paper 
detached,  and  the  negative  film  from  the 
paper,  in  the  same  manner  as  before  de- 
scribed. An  evil  attached  to  the  method  is 
that  the  negative  film  curls  up  too  easily. 

The  paper  negative  may  be  dried  be- 
tween blotting  paper,  but  must  be  first 
treated  to  an  alum  bath.  It  is  then  well 
washed  and  flooded  in  a  mixture  of 


Water 

.  1000  parts 

Glycerine    .         . 

.       50      " 

Alcohol 

.       50      " 

THE    PHILADELPHIA    PHOTOGRAPHER 


327 


by  which  means  the  films  become  soft  and 
flexible. 

Of  the  above  methods  for  preparation  of 
negative  films,  I  especially  recommend  the 
third  and  fourth  as  giving  very  brilliant 
negatives,  without  spots  or  pinholes.  Al- 
though the  methods  may  occasion  some  little 
trouble,  I  think  that  the  photographer  and 
the  amateur  will  be  richly  repaid  for  the 
labor  expended. 


CITRO-CHLORO-GELATINE 
PAPER. 

That  the  interest  of  photographers  has 
been  recently  directed  to  such  printing  pro- 
cesses as  afford  more  constant  results  than 
those  given  by  albumen  paper  is  an  event 
to  be  hailed  with  joy.  The  foundation  for 
this  heightened  interest  is  to  be  ascribed  to 
the  circumstance  that  since  Simpson  pub- 
lished his  chloride  of  silver  collodion  pro- 
cess— that  is,  just  twenty  years  ago — not  a 
single  case  is  known  of  any  print  fading  or 
turning  yellow,  prepared  according  to  his 
directions.  On  turning  over  the  pages  of 
an  old  volume  of  photographic  pictures 
there  will  be  found  many  albumen  prints, 
not  later  than  1876,  which  show  either  the 
well-known  yellow  tone,  or  the  incipient 
bleaching  or  fading,  which  ere  long  will 
totally  obliterate  the  entire  picture.  Yet 
these  pictures  certainly  were  well  washed 
and  properly  mounted.  Moreover,  they 
were  well  protected  from  light  and  air,  being 
preserved  in  an  album.  From  the  year  1872 
and  backwards,  scarcely  a  single  fresh-look- 
ing print  can  be  found,  all  look  as  if  they 
had  been  smeared  over  with  some  sort  of 
yellow  sauce.  One  thing  is  sure,  albumen 
paper  is  a  broken  reed  to  depend  upon  if 
permanency  is  desired.  Sooner  or  later  it 
will  "  go  back  on  you,"  and  even  with  the 
best  albumen  prints,  a  short  time  is  sufficient 
to  cause  fading  or  the  ominous  yellow. 
This  is  all  owing  to  the  fact  that  we  do  not 
possess  any  means  of  fully  eliminating  the 
silver  from  the  paper.  Now  I  will  mention 
a  case  to  show  the  tenacity  with  which 
albumen  holds  on  to  silver  once  within  its 
grasp,  until  with  time  it  repents  of  its  pos- 
session. I  have  before  me  a  glass  positive 
fifteen  years  old,   which  still  looks  young 


and  fresh  in  its  positive  beauty,  while  the 
border  of  it  is  totally  faded.  The  plate  had 
been  edged  around  with  albumen  to  hold 
the  chloride  of  silver  collodion. 

From  this  we  may  learn  that  even  with 
the  collodion  process  it  is  best  not  to  use 
albumen  as  a  substratum  for  the  collodion. 

The  bromide  of  silver  gelatine  has  been 
employed  for  paper  printing,  and  with  the 
best  results  with  enlargements.  The  great 
sensitiveness  of  this  substance  to  the  influ- 
ence of  light  enables  one  to  effect  the  de- 
sired printing  by  gas  or  petroleum  light. 
For  direct  printing,  however,  the  bromide 
of  silver  is  less  used,  at  least  we  are  not  ac- 
quainted with  any  general  application. 

A  more  hopeful  future  is  promised  for  the 
chloride  of  silver  gelatine  paper,  whether  it 
be  used  in  the  copy  frame,  or  by  daylight, 
or  for  development  by  exposure  to  artificial 
light. 

For  enlargements  without  the  aid  of  sun- 
light the  paper  is  not  sensitive  enough.  Mr. 
Geldmacher  estimates  the  sensitiveness  of 
the  bromide  of  silver  paper  at  forty  times 
that  of  chloride  paper,  which  estimation 
corresponds  with  that  of  our  experience. 
The  Photographischer  Archiv  has  frequently 
given  formulae  for  the  preparation  of  this 
paper.  The  following  recipes  have  in  our 
practice  proved  excellent.  The  same  recipe 
will  serve  for  printing  by  daylight  as  well 
as  with  artificial  light,  but  for  this  latter  the 
emulsion  must  be  washed. 

Printing  paper  for  full  illumination: 

Three  solutions  are  to  be  made 

1. 


Water, 

.     100  com. 

Nitrate  of  silver, 

2 

25  grammes 

Water, 

.     300  c.cm. 

Hard  gelatine, 

3 

30  grammes 

Water, 

.     100  c.cm. 

Citrate  of  potassa, 

10  grammes 

Chloride  of  sodium, 

10         " 

Which  are  to  be  brought  to  a  uniform 
temperature  by  placing  the  respective  solu- 
tions in  beaker  glasses,  and  surrounding 
them  with  water  in  a  larger  vessel  at  80°  C. 
After  the  solid  portions  are  dissolved,  the 
silver  solution  is  to  be  poured  into  the  gela- 


328 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


tine  solution,  well  stirred,  then  No.  3  is 
poured  into  it  gradually  with  constant  agi- 
tation. This  operation  is  to  be  done  under 
orange-yellow  light.  The  emulsion  is  then 
taken  out  of  the  water  bath,  filtered  through 
clean  canvas  into  a  glass,  and  mixed  with 
50  c.cm.  of  alcohol. 

Upon  this  warm  mixture  Steinbach's 
paper  is  floated  for  a  minute,  and  hung  up 
to  dry. 

The  printing  is  effected  by  using  a  print- 
ing frame,  exactly  as  with  albumen  paper. 
After  this  it  is  treated  to  the  alum  bath,  two 
per  cent.,  washed,  and  toned  in  the  usual 
gold  bath,  then  fixed.  Soft  pictures  of  an 
agreeable  tone  are  the  result. 

Printing  Paper  /or  Development. — The 
above-mentioned  solutions,  Nos.  1,  2,  and  3, 
are  to  be  mixed  as  directed  for  the  ordinary 
copying  paper. 

The  emulsion  is  taken  and  after  setting 
is  squeezed  out  in  cold  water,  and  washed 
until  every  trace  of  silver  is  removed — that 
is,  till  the  wash  water  ceases  to  give  a  pre- 
cipitate with  hydrochloric  acid.  The  gela- 
tine shreds  are  put  into  a  beaker  glass,  and 
the  glass  placed  in  a  vessel  containing  warm 
water  until  the  gelatine  is  melted.  Next 
one  gramme  of  chrome  alum  is  dissolved  in 
fifty  c.cm.  of  warm  water,  and  added  by 
small  increments  to  the  emulsion,  which  is 
to  be  violently  agitated.  The  emulsion  is 
now  filtered  through  canvas,  and  fifty  c.cm. 
of  alcohol  added,  and  if  it  is  not  intended 
for  immediate  use  a  few  drops  of  carbolic 
acid  are  added.  The  paper  is  flowed  upon 
this  as  before,  dried  and  kept  excluded  from 
the  light. 

The  exposure  in  a  copy-frame  by  gaslight 
is  a  half  minute.  It  is  better  to  illuminate 
thoroughly,  and  use  a  very  weak  developer 
to  get  warm  tones. 

The  following  developer  is  recommended 


Water, 

Oxalate  of  potassa, 

.     300  c.cm. 

100  grammes 

b. 
Water, 

Sulphate  of  iron, 
Citric  acid,  . 

.     300  c.cm. 
.     100  grammes 
.       10           " 

c. 
Water, 
Bromide  of  potassium, 

50  c.cm. 
10  grammes 

d. 
Water,  . 

Hyposulphite, 

In    the   developing   tray 
mixture  is  put: 
Water, 
Solution  a, 
Solution  b, 
Solution  c, 
Solution  d, 


200  c.cm. 
50  grammes. 

the    following 

60  to  80  c.cm. 
25  c.cm. 
8  to  10  drops. 
2  to    4  drops. 
5  c.cm. 


and  well  mixed.  The  exposed  paper  is  sub- 
merged in  this  liquid,  and  the  development 
effected  in  from  three  to  ten  minutes. 

The  picture  is  well  washed,  and  allowed 
to  lie  five  minutes  in  the  alum  solution, 
again  washed  because  the  alum  interferes 
with  the  toning  in  gold  bath. 

Tone  with  gold  and  acetate  of  soda  or 
borax,  fix  in  hypo,  and  wash. 

If  the  exposure  has  been  too  short,  or  too 
long,  the  toning  cannot  be  effected,  the 
prints  acquiring  an  ugly  green  color. 

Manipulated  enlargements  by  means  of  the 
sciopticon,  with  citro-chloro-gelatine  paper, 
may  be  had  in  twenty-five  minutes,  nearly 
one-half  the  time  required  for  chloride  of 
silver  collodion  prints. — Dr.  Liesegang  in 
Photo.  Archiv. 


HONOR  TO  WHOM  HONOR  IS  DUE. 

Your  September  number  at  hand,  and 
there  is  much  food  in  it  for  the  thinking 
photographer. 

The  picture  by  Conley,  on  the  Stanley 
plate,  is  worthy  of  the  rank  it  takes.  The 
pose  is  well  chosen. 

There  is  one  thing  in  your  Journal  that 
I  am  highly  pleased  with,  and  it  shows  how 
a  great  master  can  divide  up  the  honors  due 
his  co-workers.  It  is  not  enough  that  a 
workman  is  paid  for  his  time,  but  he  should 
be  given  the  honor  of  what  his  talent  has 
produced  for  his  employer.  I  am  very 
much  pleased  with  friend  Kyder's  sense  of 
justice  in  giving  credit  to  those  whom  he 
recognizes  as  being  the  ones  entitled  to  it, 
although  probably  if  he  were  to  operate,  he 
might  produce  as  meritorious  work  himself, 
as  he  has  doneso  in  the  past.  His  example 
is  one  that  should  be  copied,  for  there  is 
honor  in  admitting  the  truth. 

You  speak  about  so  little  interest  in  com- 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


329 


position  being  manifested  by  the  photog- 
raphers of  the  country.  I  doubt  not  there 
are  many  who  have  a  feeling  for  art  when 
they  see  it,  but  cannot  express  it;  and  there 
are  others  who  have  the  same  emotions,  and 
can't  convey  them.  Others,  whose  con- 
dition is  favorable  to  its  development,  are 
spurred  on  by  the  impulse;  that  is,  are 
spurred  on  by  the  impulse  that  is  within 
them,  and  their  condition  being  such  they 
improve  and  become  lights  in  the  art  world. 

If  you  want  to  see  art  spring  into  exist- 
ence in  photography  that  will  not  be  laughed 
at,  you  have  got  to  .make  it  so  there  will  be 
time  to  devote  to  such  things,  and  not  be  oc- 
cupied in  fighting  for  a  crust  of  bread.  Such 
a  condition  is  only  fit  for  slaves,  who  are 
not  susceptible. of  feeling,  having  been  in 
that  condition  so  long  that  all  the  individual 
faculties  are  at  rest,  and  they  know  no  bid- 
ding but  that  of  others. 

Whither  are  we  drifting?  Is  it  not  in 
that  direction  ?  If  not,  we  soon  shall  be  if 
we  go  on  depreciating  the  recompense  of  our 
calling,  and  no  protest  is  offered  but  a  sickly 
one. 

What  inducement  is  there  for  a  young 
man  in  needy  circumstances,  who  has  the 
fire  of  art  burning  in  his  bosom,  to  enter 
photography?  I  cannot  see  any.  It  is  all 
the  veterans  in  the  science  can  do  (and  do 
conscientious  work)  to  live.  They  may  have 
the  wish,  but  are  without  the  needful  of  this 
world's  goods  to  assist  them  in  their  calling. 
I  hope  those  who  have  the  interests  of  this 
elevating  science  at  heart  will  redouble  their 
exertions  to  put  it  where  it  belongs,  for  there 
can  be  art  displayed  even  by  the  camera, 
when  the  mind  that  controls  it  is  that  of  an 
artist. 

I  speak  plainly,  and  it  applies  to  myself 
as  much  as  to  others,  for  I  too  am  a  photog- 
rapher ;  one  who  is  as  devoid  of  originality 
as  any  in  the  profession. 

Yours  fraternally, 

M.  H.  Albee. 


TWO  YEARS'  EXPERIENCE  WITH 
ONE  DEVELOPER. 

The  following  is  reliable,  besides  being 
the  best  form  of  developer  I  have  as  yet 


used,  and  in  the  hands  of  any  ordinary  op- 
erator will  produce  surprising  results  by 
alteration  hereunder  mentioned.  You  can 
at  will  make  either  a  first-class  solar,  ordi- 
nary view,  or  copy  a  negative  in  short  from 
the  most  transparent  image  to  the  most  in- 
tense, without  aid  of  after-intensifying 
(which  I  consider  to  be  needless,  besides 
being  detrimental).     Scale  for  5x8  plate : 

Solar  negative  :  6  grains  of  pyro,  1  grain 
of  bromide  of  potassium,  4  ounces  of  water 
— first,  4  drops  of  ammonia  solution  ;  second, 
8  drops  of  ammonia  solution. 

Ordinary  negative:  10  grains  of  pyro,  2 
grains  of  bromide  of  potassium,  4  ounces  of 
water — first,  6  drops  of  ammonia  solution; 
second,  12  drops  of  ammonia  solution. 

Yiew,  negative:  12  grains  of  pyro,  2 
grains  of  bromide  of  potassium,  4  ounces  of 
water — first,  8  drops  of  ammonia  solution  ; 
second,  16  drops  of  ammonia  solution. 

Copy  negative :  14  grains  of  pyro,  2  grains 
of  bromide  of  potassium,  4  ounces  of  water 
— 9  drops  of  ammonia  solution,  18  drops  of 
ammonia  solution. 

Pyro  solution  for  intensifying,  1  drachm 
to  2  ounces  of  water. 

(880)  Ammonia  solution  for  accelerating  : 
Ammonia,  1  ounce  ;  water,  1  ounce. 

Soak  plate  one  minute  in  either  of  the 
forenamed  solutions,  according  to  which 
negative  you  require  to  produce  ;  then,  say 
for  ordinary  negative,  add  5  drops  of  am- 
monia solution.  If  properly  exposed,  the 
high  lights  will  appear  well  out  in  one 
minute ;  then  add  12  drops  more  of  ammonia 
solution,  which,  as  a  rule,  will  finish  devel- 
opment. If  appearing  too  intense,  add  a 
little  more  ammonia  solution  ;  if  too  weak, 
add  several  drops  of  pyro  solution.  No 
definite  amounts  can  be  specified,  but  is  a 
matter  of  judgment  on  the  part  of  the  op- 
erator. Very  little  experience  will  teach 
you  the  amount  required.  Think  well ;  have 
plenty  of  light,  that  you  may  see  well,  and 
success  will  attend  your  efforts.  To  make 
matters  more  explicit,  I  have  detailed  the 
quantity  of  ammonia  solution  for  first  and 
second  application. 

Edwin  Dukyea. 


Moonta,  South  Australia. 


23 


330 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


THE  AMERICAN  PAPER  NEGA- 
TIVE IN  EUROPE. 

The  London  Times,  August  11th,  devotes 
a  column  to  the  Eastman  paper  negative 
and  its  application,  under  the  head  of 
"Another  Advance  in  Photography." 
Among  other  things,  it  describes  the  whole 
working  of  the  new  invention,  and  says: 

"Among  the  American  contributions  to 
the  Inventions  Exhibition  is  one  which 
promises  to  effect  a  revolution  in  out-of-door 
photography  by  the  complete  attainment  of 
the  long-sought-for  desideratum  in  a  flexi- 
ble substance  for  the  glass  plate,  which,  so 
far,  has  been  indispensable  to  the  best  re- 
sults in  landscape  photography.  The  weight 
and  the  risk  of  fracture  when  the  route  of 
the  photographer  lies  through  countries  diffi- 
cult in  communications,  make  the  use  of 
even  dry  plates  in  all  out-of-the-way  places 
an  impediment  with  which  no  enterprising 
amateur  is  unfamiliar.  This  restricts  the 
use  of  the  camera  to  the  smaller  sizes,  and 
even  when  all  difficulties  are  overcome, 
often  robs  the  photographer  of  the  fruits  of 
his  labor  by  the  carelessness  of  a  porter  or 
an  accident  on  the  road.  In  the  search  for 
a  flexible  material  paper  naturally  has 
always  drawn  the  attention  of  the  experi- 
menter, and  even  preceded  glass  in  meas- 
urable success,  the  talbotype  being  the 
earliest  negative  process,  and  one  which 
for  certain  kinds  of  work  has  had  its 
triumphs. 

"  The  incurable  defect  of  paper  negatives 
has,  however,  always  been  the  inequality"  of 
texture  in  the  paper  itself,  giving  the  prints 
obtained  therefrom  a  mottled  appearance, 
corresponding  to  the  water-mark  in  the 
paper.  Various  experiments  have  shown 
that  this  granularity — for  such  it  may  be 
called — is  not  due  to  the  greater  or  less 
opacity  of  the  paper,  but  to  the  fact  that 
its  unequal  surface  induces  a  correspond- 
ingly unequal  thickness  of  the  sensitive 
coating,  the  pits  in  the  paper  receiving 
more  of  the  haloid  than  the  intervening 
ridges,  so  that  when  the  development  takes 
place  every  depression  in  the  paper  becomes 
a  granule  of  greater  density  in  the  nega- 
tive. To  overcome  this  difficulty  thousands 
of  experiments  have  been  made  fruitlessly, 


so  far  as  a  general  result  obtains.  Some 
experimenters  of  great  skill  and  experience, 
notably  Warnerke  here,  and  Balagany  in 
France,  have  produced  paper  negatives  of 
admirable  quality,  though  none  which  rival 
the  negatives  on  glass,  and  the  careful  and 
laborious  preparation  of  the  material  which 
has  always  been  necessary  has  made  the  re- 
sult costly  and  of  little  commercial  impor- 
tance, and  unworkable  by  the  average  pho- 
tographic amateur. 

"  In  the  American  contribution  to  the  In- 
ventions to  which  we  allude,  that  of  the 
Eastman  Dry  Plate  and  Film  Company, 
the  difficulties  are  all  met  by  a  near  ap- 
proach to  complete  triumph.  The  sensitive 
film  is  absolutely  free  from  any  inequality 
due  to  the  paper,  and  the  resulting  prints 
which  we  have  seen  are  in  no  wise  to  be 
distinguished  from  those  made  from  glass 
negatives,  while  the  production  of  the  film 
is  carried  on  such  a  colossal  scale  and  with 
such  complete  mechanical  appliances,  that 
the  equality  of  the  material  and  its  freedom 
from  accidental  defects  are  greater  than  has 
been  possible  to  obtain  with  glass,  and  the 
cost  is  reduced  far  below  that  of  the  usual 
dry  plates  of  an  equal  excellence." 


THE  NORTH,  CENTRAL,  AND 
SOUTH  AMERICAN   EXPOSITION. 

Hardly  had  the  "World's  Industrial  and 
Cotton  Centennial  Exposition  closed  its 
doors  at  New  Orleans  on  the  31st  of  May 
last,  when  a  new  corporation  was  formed 
under  the  above  title,  for  the  purpose  of 
opening  a  new  exposition  during  the  ensuing 
fall  and  winter,  to  he  conducted  on  purely 
business  principles,  and,  if  possible,  excel  in 
extent  and  completeness  even  the  famous 
exhibition  of  last  winter.  That  this  hope 
will  be  realized  is  already  assured  by  letters 
and  applications  for  space  from  all  sections 
of  the  country. 

The  North,  Central,  and  South  American 
Exposition  has  purchased  at  a  low  figure 
the  entire  buildings  and  plant  of  the  World's 
Exposition,  and  is  now  fully  organized  for 
business. 

The  leading  object  of  this  new  exposition 
will  be  to  develop  more  intimate  trade  rela- 
tions between  the  55,000,000  producers  and 


THE    PHILADELPHIA    PHOTOGKAPHEB. 


331 


consumers  of  the  United  States  and  the  48,- 
000,000  producers  and  consumers  of  Mexico, 
Central  America,  South  America,  and  the 
West  Indies ;  in  other  words,  to  stimulate 
an  exchange  of  our  surplus  manufactures 
for  their  surplus  raw  materials. 

While  especial  attention  will  be  paid  to  the 
commercial  interests  of  the  three  Americas, 
it  is  assured  that  large  and  interesting  foreign 
exhibits  will  be  forthcoming. 

The  Exposition  buildings  cover  nearly 
sixty  acres,  the  main  building  alone  having 
thirty-three  acres  under  one  roof.  The  col- 
lective exhibits  of  States  and  Territories 
will  cover  some  ten  acres  more. 

The  Exposition  will  open  November  10, 
1885,  and  remain  open  until  March  31, 1886. 
To  the  opening  will  be  invited  the  Presi- 
dents of  the  United  States,  of  Mexico,  and 
of  all  the  Spanish  American  Kepublics;  the 
Emperor  of  Brazil,  and  the  Governor-Gen- 
eral of  Canadas. 

It  promises  to  be  a  grand  success.  In- 
tending exhibitors  may  obtain  the  necessary 
papers  on  application. 


PAPER  SUPPORT  FOR  NEGA- 
TIVES. 

BY  6.  HANMER  CROUGHTON. 

When  at  Cincinnati  I  showed  the  mem- 
bers of  the  Chicago  Photographic  Associa- 
tion some  examples  of  paper  negatives  which 
I  had  brought  from  England,  and  gave  it 
as  my  opinion  that  it  was  the  next  step  in 
advance.  I  had  no  idea  that  by  the  next 
Convention  there  would  be  such  a  fine  ex- 
hibit of  what  would  be  done  by  paper  nega- 
tives as  was  shown  at  Buffalo.  The  exhibits 
by  Mr.  Eastman,  the  demonstrations  made 
by  Mr.  Cooper,  and  the  fine  exhibit  of  very 
large  pictures  by  Mr.  Kent,  all  showed  that 
paper  negatives  had  long  passed  the  experi- 
mental stage.  Since  then  I  have  had  an 
opportunity  of  seeing  more  of  the  capabili- 
ties of  Eastman's  negative  paper  and  holders, 
and  am  still  more  confirmed  in  my  belief 
that  it  is  the  process  of  the  future. 

There  are  so  many  advantages  in  the  use 
of  a  paper  support  instead  of  glass,  that  if 
the  results  can  be  proved  to  be  equal,  the 
balance  is  so  much  in  favor  of  the  paper 
that  it  should  lead  to  its  universal  adoption. 


I  will  pass  over  the  very  obvious  advantage 
of  lightness  and  portability  in  carriage, 
although  this  is  not  by  any  means  the  least 
of  its  advantages.  During  my  stay  in  Buf- 
falo I  carried  around  a  4x4  camera  with 
twelve  double  holders,  and  can  appreciate 
the  difference  in  weight  between  that  and  a 
roller-holder  carrying  an  equal  number  of 
paper  films.  In  developing  the  advantage 
is  with  the  paper  films  ;  the  ease  and  sim- 
plicity of  the  development  must  be  seen  to 
be  believed.  The  members  of  the  Photo- 
graphic Society  of  Philadelphia,  who  at 
their  last  meeting  had  this  demonstrated 
before  them  by  Mr.  Cassidy,  were  unani- 
mous in  their  expressions  of  surprise  at  the 
perfection  of  the  results,  and  the  ease  with 
which  they  were  produced.  At  the  same 
time,  the  great  objection  which  has  been 
urged  against  the  paper  negatives  was 
proved  to  be  quite  groundless  ;  this  objection 
has  been  that  of  texture  of  the  paper,  which 
it  was  urged  must  show  in  the  printing. 

Any  one  who  has  had  anything  to  do 
with  magic  lantern  slides  will  know  that 
if  texture  exists  at  all  it  will  be  brought  out 
in  a  transparency,  even  if  it  does  not  show 
in  printing.  To  test  this  matter  in  a  satis- 
factory manner  I  made  magic  lantern  slides 
from  the  paper  negatives,  and  the  results 
were  shown  at  the  meeting;  and  when  en- 
larged upon  the  screen  there  was  no  ap- 
pearance of  texture,  or  anything  whatever 
to  show  that  the  slide  was  made  from  a 
paper  negative,  both  the  lights  and  shadows 
being  as  clear  as  if  made  from  the  best  glass 
negative.  With  the  settlement  of  this  ob- 
jection, there  does  not  remain  one  which 
has  not  been  fully  and  satisfactorily  refuted. 

This  experiment  with  the  magic  lantern 
slides  has  suggested  to  me  an  application 
which  will  make  this  negative  paper  of 
great  value  to  the  profession,  outside  of  its 
ordinary  use  for  portraits  and  views. 

Eor  instance,  I  have  a  4  x  5  negative  of  a 
group  taken  under  very  unfavorable  con- 
ditions, it  is  therefore  not  so  good  as  I  could 
wish ;  but  the  people  want  larger  copies  of 
it,  about  10  x  12.  I  put  my  small  negative 
into  the  enlarging  camera  and  enlarge  the 
same  in  the  usual  way  till  it  fills  the  10  x  12 
plate;  then  I  take  a  piece  of  Eastman's 
negative  paper  and  make  a  transparent  posi- 


332 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


tive  full  size.  In  making  the  positive  it  is 
important  to  give  full  exposure,  and  be 
careful  not  to  overdevelop. 

When  dry  this  positive  can  be  improved 
in  a  most  wonderful  manner  with  a  lead- 
pencil,  or  rather,  I  should  say,  with  several 
leadpencils  of  various  degrees  of  hardness  ; 
shadows  of  drapery  can  be  deepened;  sharp 
touches  put  in  where  there  is  a  want  of  defi- 
nition. In  fact,  anything  can  be  done  with 
it,  even  to  taking  out  objectionable  portions 
with  a  sharp  scraper,  as  demonstrated  by 
Mr.  Cooper  at  Buffalo. 

When  all  this  has  been  done  upon  the 
shadows  of  the  transparent  positive  it  must 
be  oiled,  and  a  negative  made  either  by 
contact  or  in  the  camera.  I  prefer  the  lat- 
ter. Upon  this  negative  you  have  also  the 
same  power  of  improvement,  working  this 
time  upon  the  lights  with  the  pencil,  and 
deepening  the  shadows,  if  wanted,  by  scrap- 
ing. In  this  way  you  have  a  double  power 
for  improvement,  and  by  adding  to  the 
shadows  in  the  transparency  and  the  lights 
in  the  negative,  a  large  addition  is  made  to 
the  scale  of  tones  on  the  enlarged  negative 
and  an  enlarged  print  obtained,  which  is  a 
great  improvement  upon  the  original. 

There  are  other  applications  of  this  nega- 
tive paper,  which  I  hope  to  refer  to  hereafter. 


OUR  PICTURE. 


As  promised  in  our  last,  we  give  in  this 
number  a  copy  of  the  six  pictures  which 
were  awarded  the  first  prize  presented  by 
Mr.  G.  Gennert  for  exhibits  from  Europe  at 
the  late  Convention. 

These  pictures  (which  were  life-sized 
heads  upon  20  x  24  plates)  attracted  well- 
deserved  attention  from  all  who  saw  them. 
We  have  already  referred  to  the  European 
photographs  in  our  critical  notice  of  the  ex- 
hibits in  our  last  number.  The  six  pictures 
which  we  have  now  the  pleasure  of  present- 
ing to  our  readers  were  undoubtedly  the 
finest  in  that  exhibit,  and  deserve  the  first 
prize  for  photographic  and  artistic  qualities. 

The  characteristics  of  these  pictures  were 
breadth  and  feeling  in  the  treatment  of  the 
light  and  shade,  softness  and  delicacy  in  the 
flesh  shadows,  an  admirable  rendering  of 
texture,  and,  what  is  very  important,  sim- 


plicity and  ease  in  pose  and  expression. 
The  absence  of  over-retouching  was  not 
the  least  charm  of  these  pictures ;  the  pen- 
cil of  the  retoucher  had  not  destroyed  the 
natural  flesh  texture,  or  altered  the  lines 
and  contours  of  the  face.  Just  enough  and 
no  more  has  been  done  to  remedy  photo- 
graphic defects,  and  it  can  be  safely  said 
that  none  of  their  excellence  was  due  to  the 
retoucher. 

Eor  the  last  few  years  photographers,  as 
a  rule,  have  appeared  to  aim  to  produce 
striking  effects  by  violent  contrasts  of  light 
and  shade,  combined  with  impossible  action 
in  position.  These  pictures,  on  the  con- 
trary, are  striking  examples  of  effect  ob- 
tained by  quietness  and  repose  both  in  treat- 
ment and  position. 

The  scale  of  tones  is  not  near  so  extended 
as  we  have  been  in  the  habit  of  seeing  in 
the  majority  of  the  photographic  portraits 
produced  on  this  side  of  the  Atlantic.  Take, 
for  example,  any  exhibits  of  the  best-known 
men  in  the  same  exhibition,  and  it  would 
be  seen  that  the  number  of  tones  or  tints, 
from  the  deepest  shadows  to  the  highest 
lights,  were  far  greater  than  in  these  pic- 
tures, and  yet  there  is  no  lack  of  brilliancy, 
which  is  obtained  by  the  harmony  of  the 
gradations,  not  by  an  extended  scale  of 
tones,  or  by  the  violent  contrast  of  very 
deep  shadow  against  the  highest  light.  The 
massing  of  the  lights  upon  the  hair  of  the 
pictures  of  the  lady  and  gentleman  is  sim- 
ply exquisite.  Notice  how  the  silvery  sheen 
upon  the  highest  lights  is  enhanced  by  the 
delicate  demi-tint  next  them.  Notice,  also, 
that  the  deepest  shadows  of  the  flesh  are 
full  of  transparency  and  life-like  texture. 
There  is  none  of  that  hardening  of  the  flesh 
into  stone  by  the  pencil  of  the  retoucher 
which  has  of  late  called  forth  the  condemna- 
tion of  artists  upon  the  average  photo- 
graphic portrait  for  its  unreality  and  want 
of  life.  Here  all  is  quiet,  life-like,  harmoni- 
ous ;  the  photographic  manipulation  perfect ; 
artistically,  they  are  striking  examples  of 
what  can  be  done  in  artistic  hands  with  our 
art-science,  which  some  would  have  us  be- 
lieve is  nothing  but  mechanical. 

The  prints  were  made  upon  the  famed  1ST. 
P.  A.  paper,  supplied  us  by  E.  &  H.  T.  An- 
thony &  Co.,  New  York. 


THE   PHILADELPHIA    PHOTOGEAPHEE. 


333 


THE  NEW  "DETECTIVE"  CAMERA 
AND  PHOTOGRAPHIC  MA- 
TERIALS GENERALLY. 

The  progress  which  has  been  made  of 
late  years  in  the  science  of  photography 
has  been  something  remarkable — the  modes 
of  posing  are  as  different  as  can  possibly  be, 
while  the  apparatus  employed  have  been 
changed  and  improved  in  a  high  degree. 
The  photographer  of  the  old  school  fixed 
the  person  to  be  taken  in  front  of  a  sort  of 
"bull's-eye,"  and  requested  him  or  her  to 
"look  natural."  Then,  after  a  half  hour 
of  fixing  and  twisting,  the  cap  was  taken 
off  the  bull's-eye,  and  a  minute  or  more  of 
torture  followed,  in  which  the  sitter  gazed 
fixedly  at  nothing.  The  result  is  well  known 
to  all. 

But  things  are  altered  now,  as  a  visit  to 
the  establishment  of  Messrs.  E.  &  H.  T. 
Anthony  &  Co.,  No.  561  Broadway,  will 
convince  the  most  sceptical.  Here  every- 
thing in  the  way  of  a  photographic  outfit 
can  be  obtained.  Among  their  many  spe- 
cialties the  most  novel  is  certainly  Schmid's 
patent  "Detective"  camera,  by  means  of 
which  pictures  may  be  literally  taken  "on 
the  wing."  It  is  the  lightest,  neatest,  and 
most  compact  camera  ever  made,  and  only 
weighs  a  fraction  of  three  pounds,  being  so 
small  and  light  that  it  can  be  easily  carried 
under  the  arm.  "When  needed  for  use  it  i3 
only  necessary  to  insert  a  "  plate,"  a  little 
catch  is  raised,  a  "click"  is  heard,  and 
quick  as  the  twinkling  of  an  eye  the  view 
is  secured.  There  is  no  trouble,  and  scarcely 
any  mechanical  skill  is  exercised. 

Practically  the  operation  is  instantaneous, 
since  a  passing  train,  a  galloping  horse,  or 
a  flying  bird  can  be  pietorially  fixed.  These 
"detectives"  are  becoming  almost  as  indis- 
pensable a  portion  of  the  tourist's  "  kit "  as 
his  guidebook,  and  the  demand  is  such  that 
the  Messrs.  Anthony,  who  control  the  patent, 
are  totally  unable  to  supply  the  demand, 
notwithstanding  a  large  force  is  kept  busy 
upon  them  in  the  factory. 

Then  there  is  the  "Fairy"  camera  and 
tripod,  a  neat  little  affair,  the  whole  of 
which  can  be  readily  carried  in  a  hand 
valise.  This  is  by  far  the  most  attractive 
and  elegant  piece  of  apparatus  of  its  kind 


ever  offered.  It  is  put  together  as  rigidly 
as  wood  and  metal  can  be,  occupies  less 
space  than  any  other  view  camera  of  the 
same  capacity,  while  the  plate-holders  are 
made  of  hard  wood,  with  metal  carrier  for 
the  plates,  and  fitted  with  all  the  later  im- 
provements. In  direct  contrast  to  those 
mentioned  are  the  monster  "Climax  "  and 
"Novel"  cameras,  some  of  which  take  a 
plate  25  x  30  inches,  and  are  filled  with  the 
"Benster"  plate-holder,  which  for  "dry" 
studio  work  is  the  best  ever  invented.  Then' 
there  are  the  famous  "  Stanley  "  dry  plates, 
for  which  Messrs.  Anthony  are  the  sole 
agents.  These  plates  have  met  with  re- 
markable favor  among  both  amateur  and 
professional  photographers,  and  their  rapid 
rise  to  popularity  is  a  sufficient  evidence  of 
their  superior  qualities  ;  they  need  no  dem- 
onstrator. 

It  would  be  difficult  indeed  to  enumerate 
one  tithe  of  the  many  novel  and  standard 
items  of  interest  to  photographers  generally 
dealt  in  by  this  firm,  which  stands  now,  as 
it  has  since  1843,  when  it  was  first  estab- 
lished, ahead  of  any  other  similar  concern. 
Messrs.  Anthony,  it  may  be  mentioned, 
publish  a  fortnightly  magazine,  entitled  the 
Photographic  Bulletin.  It  is  handsomely 
gotten  up  from  a  typographical  point  of 
view,  and  is  most  ably  edited  by  Prof. 
Charles  F.  Chandler,  Ph.D.,  LL.D.,  Pro- 
fessor of  Applied  Chemistry  in  the  School 
of  Mines,  Columbia  College,  New  York 
City. — New  York  Times. 


GERMAN  CORRESPONDENCE. 

Isochromatic  Plates  for  Landscape  and 
Portrait  Work — Increasing  Sensitiveness 
of  Dry  Plates — New  Official  Galleries — 
Black  Bristol  and  its  Influence — Sensi- 
tometer  Researches  of  Eder — Siegfreid's 
Experience  in  Balloon  Photography. 

CoLOR-sensitive  plates  (or,  as  they  are 
called,  isochromatic)  are  exciting  increased 
attention.  Obernetter,  in  Munich,  has  em- 
ployed them  with  repeated  success  in  land- 
scape work,  and  has  had  the  best  results  in 
evening  landscapes  with  brilliant  yellow 
clouds  and  deep  green  foliage,  and  still 
greater  advantage  in  architecture,  composed 


334 


THE    PHILADELPHIA    PHOTOGRAPHER. 


of  brick  and  even  with  sandstone  of  a  yellow 
color.  I  recently  took  such  a  building,  of 
a  yellow  spotted  sandstone,  with  ordinary 
plates,  and  obtained  an  impression  which 
was  covered  with  black  spots.  I  then  tried 
an  azaline  plate  and  obtained  a  faultless 
picture,  which  conveys  the  impression  that 
the  negative  had  been  in  the  hands  of  a 
good  retoucher,  but  the  negative  had  not 
an  iota  of  retouching.  Naturally  such  re- 
sults excite  the  attention  of  the  portrait 
photographer.  Scoliak,  of  Vienna,  had 
shown  a  year  ago  the  advantage  of  the  em- 
ployment of  azaline  plates  in  portraiture 
with  variegated  costumes — for  example,  mili- 
tary, and  the  costumes  of  ladies,  also  the  ren- 
dering of  dark  complexions.  To  be  sure,  the 
time  of  exposure  is  somewhat  lengthened, 
inasmuch  as  the  addition  of  the  color-sensi- 
tive body  lowers  the  general  sensitiveness  of 
the  plate,  and  in  like  manner  the  inevitable 
yellow  glass  operates  to  slow  the  action. 
Fortunately,  in  portraiture  the  intense  color 
of  the  plate  is  not  demanded.  It  is  suffi- 
cient to  coat  a  plate  glass  over  with  a  collo- 
dion of  about  one  and  three-quarters  per 
cent  of  cotton,  with  fifteen  grains  of  auran- 
tine,  to  one  hundred  cc.m.  Such  a  plate 
increases  the  time  of  exposure  to  a  small 
degree,  so  that  the  time  is  about  three  times 
that  of  an  ordinary  plate;  the  results  are 
excellent. 

In  my  last  letter  I  made  known  the  ex- 
periments of  Hanley  to  make  gelatine  plates 
sensitive.  He  has  made  known  recently 
the  following :  Plates  of  19°  W.  were  dipped 
in  a  solution  of  half  a  cc.m.  ammonia  citrate 
of  silver  in  one  hundred  cc.m  of  absolute 
alcohol.  The  ammonia  citrate  of  silver  was 
composed  of 

10  grains  of  Nitrate  of  Silver, 
10  grains  of  Citric  Acid, 
100  cc.m.  Distilled  Water. 

Liquor  ammonia  was  then  added,  which 
formed  a  white  curdy  precipitate.  This  ad- 
dition was  continued  until  the  precipitate 
redissolved.  It  was  then  filtered  ;  the 
solution  is  not  clear,  but  milky.  The  plate 
was  then  dried  and  exposed,  dipped  for  two 
minutes  in  bath  of  hypo  1  to  5000,  then  de- 
veloped. Kesult:  The  plate  showed  softer 
gradation  during  the  development  than  in 


the  case  of  the  former  experiment,  and  the 
high  lights  were  beautiful.  No  trace  of 
spots  was  visible,  as  occurred  in  the  previous 
experiment  with  the  fuming  of  the  plates 
on  ammonia.  Sensitive  plates  gave  in 
fifteen  seconds  the  same  results  as  with 
thirty  seconds  with  the  sensibilator.  The 
negatives  resemble  wet  plates.  The  method 
is  worthy  of  recommendation,  but  the  plates 
cannot  be  made  in  any  quantity  for  storing, 
as  the  sensitiveness  is  lost  in  twenty-four 
hours.  It,  however,  only  requires  a  couple 
of  minutes  to  prepare  such  plates. 

The  daily  increasing  importance  of  pho- 
tography to  science  and  art  becomes  more 
manifest  by  the  increase  in  the  commis- 
sions for  the  erection  of  photographic  es- 
tablishments by  the  Government.  There 
is  to  be  erected  a  reproduction  gallery  in  the 
Hydrographic  Office  of  the  Admiralty. 
Another  is  being  planned  for  the  Koyal 
Museum.  Moreover,  the  photographic  ex- 
perimental atelier,  in  the  Technical  Acad- 
emy in  which  your  humble  servant  was 
actively  engaged  for  twenty  years,  will 
soom  be  completed.  "We  may  remark 
that  photographers  who  are  officially 
appointed  are  not  rarities,  and  that  the 
number  increases  with  the  increased  num- 
ber of  the  official  ateliers.  I  lately  re- 
ceived cards  of  a  black  color,  the  pictures 
upon  which  were  covered  with  bright 
yellow  spots.  I  could  readily  determine 
the  cause:  The  photograph,  pasted  with 
sour  paste  containing  five  per  cent,  of  acetic 
acid,  showed  upon  the  black  card  spots  in 
twelve  hours;  the  same  paste,  used  in 
pasting  a  photograph  upon  white  board, 
did  not  exhibit  the  phenomenon.  I  recom- 
mend this  simple  test  to  any  one  who  is  de- 
sirous of  using  black  cards. 

Professor  Pickering,  in  Boston,  has  made 
a  number  of  interesting  reports  concerning 
the  sensitiveness  of  bromide  of  silver  gela- 
tine plates  of  commerce  when  subjected  to 
the  influence  of  light  from  different  sources. 
He  has  shown  that  the  relative  sensitiveness 
varies  with  the  source  of  light.  Professor 
Eder  has  continued  these  experiments.  He 
took  a  Warnerke  sensitometer  and  exposed 
plates  of  different  make.  He  employed, 
not  merely  ordinary  bromide  of  silver 
plates,  but  extended   his  investigations  t 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


335 


iodide  of  silver,  chloride  of  silver,  gelatine 
emulsions,  wet  iodide  collodion  plates,  and 
(eosine)  bromide  of  silver  gelatine  emul- 
sions, employing  daylight,  gaslight,  Hefner 
Alterkes  amyl  light,  Warnerke  phosphor- 
escent blue  normal  light,  and  magnesium 
light.    The  following  results  were  obtained : 


which  did  not  result  favorably  owing  to  de- 
fects in  apparatus,  shutters,  etc.,  the  follow- 
ing arrangements  were  found  to  give  best 
results  :  The  camera  consisted  of  a  box  ar- 
ranged for  photogrametric  purposes,  with 
horizontal  and  vertical  axes,  so  that  the 
various  operations — the  fixing  of  the  shutter, 


The  light-sensitiveness  of 

Light  sensitiveness  of 

Source  of  light. 

Wet  iodo-bromide  collodion  as 

1-i 

Daylight. 

tt                <f                a 

1-1-10 

Blue  phosphorescent  light. 

i<                it               n 

1-i 

Acetate  of  amyl  light. 

o 

Chloride  of  silver  gelatine  as 

li  to  1-7  ? 

Daylight. 

.2 

"              "              " 

1  1-10  to  1-50 

Acetate  of  amyl  light. 

a              <•              <> 

If  to  1 

Magnesium. 

Bromine  of  silver  gelatine  con- 

if to  9-20 

Daylight. 

■f 

taining  eosine  as 

60 

Bromine  of  silver  gelatine  con- 

1-1 to  3 

Amyl  light. 

taining  eosine  as 

> 

Bromide  of  silver  gelatine  con- 
taining eosine  as 

1-1-5  to  1-3 

Blue  phosphorescent  light. 

o 

Iodo-bromide    of  silver    (bro- 

li to  1-3 

Daylight. 

o 

T3 

mide  of  silver  gelatine),  with 

g 

10-20  per  cent,  of  iodide  of 

O 

silver  gelatine 

M 

Iodo-bromide   of    silver    (bro- 
mide of  silver  gelatine),  with 
10-20  per  cent,  of  iodide  of 
silver  gelatine 

l-Hto4 

Blue  phosphorescent  light. 

From  this  it  will  be  seen  how  great  is 
the  variation  of  sensitiveness  in  relation  to 
the  source  of  light.  Hence  the  light  to 
be  employed  in  the  sensitometer  will  be  ! 
better  suited  in  proportion  as  it  contains 
the  greater  number  of  colored  rays  in  the 
spectrum — that  is,  the  nearer  it  approaches 
ordinary  daylight.  I  therefore  regard  the 
Warnerke  sensitometer  in  this  respect  as  the 
least  suited,  because  its  rays  are  chiefly  blue, 
corresponding  to  the  middle  between  G 
and  F  of  the  spectrum.  The  unfavorable 
results  with  wet  plates  may  be  thus  ex- 
plained, since  they  are  more  sensitive  to  in- 
digo and  violet  rays. 

Recently  my  pupil,  Mr.  Von  Siegsfeedt, 
has  given  a  thorough  study  to  balloon  pho- 
tography. The  great  obstacle  to  success 
was  the  circumstance  that  the  balloons  were 
usually  sent  up  for  the  pleasure  of  the  pub- 
lic, and  hence  late  in  the  afternoon.  In 
spite  of  this  hindrance,  he  has  succeeded  in 
taking,  at  seven  o'clock  sbarp,  strong  in- 
stantaneous views,  the  clearness  of  the  air 
which  followed  a  rain-storm  contributing 
to   the    success.      After    several    attempts, 


changing  of  the  plates,  and  setting  the  ap- 
paratus in  the  seat  in  the  basket — could  be 
quickly  and  easily  effected  without  causing 
any  vibration  in  the  car.  Upon  the  base 
board  of  the  camera  were  marks  for  regis- 
tering indefinitely  and  for  special  distance, 
from  which,  after  the"  ascension,  the  first 
shot  could  be  made;  a  line  fastened  to  the 
bottom  of  the  desired  length  of  the  distance 
indicated  during  the  ascension  the  proper 
moment  for  the  unfastening  of  the  shutter. 
The  apparatus  was  connected  with  a  table 
which  was  fastened  from  the  outside  of  the 
edge  of  the  basket  by  two  hooks,  and  pressed 
by  the  weight  of  the  apparatus  against  the 
sides  by  means  of  a  three-curved  support, 
which  offered  sufficient  resistance  to  the 
strong  concussion  of  the  guillotine  shutter. 
A  quick  "but  surely  continued  movement 
of  the  balloon  does  less  harm  to  the  sharp- 
ness of  the  picture  than  the  swinging  of 
the  gondola,  and  especially  the  double 
swing,  because  an  angle  of  only  five  de- 
grees in  one  second,  or  fifteen  minutes  in  one- 
twentieth  of  a  second,  made  in  2000  metres, 
amounts  to  8.8   metres.     It   is   easily  seen 


336 


THE    PHILADELPHIA    PHOTOGRAPHER. 


whether  an  ohject  has  been  taken  indistinctly 
through  the  straight  forward  movement,  or 
from  the  oscillation  of  the  car,  for  in  the 
first  case  the  distance,  in  comparison  with 
the  near  objects,  appears  sharper,  and  the 
reverse  in  the  second  case.  Prom  a  free 
balloon  the  probabilities  of  the  success  of 
the  undertaking  are  greater  than  from  a  cap- 
tive balloon,  because  the  motion  of  the  for- 
mer is  much  more  uniform  and  not  subject 
to  violent  vibration.  By  reason  of  the  ex- 
aggeration occasioned  by  the  aerial  per- 
spective, the  same  trouble  as  regards  distant 
defects  is  encountered  as  is  met  in  experi- 
menting upon  mountain  tops. 

Yours  truly,  H.  W.  Vogel. 


DOTS  OF  THE  DAY. 

The  Suter  lens  won  a  silver  medal  for  its 
talented  inventor  and  producer  at  the  re- 
cent International  Inventions  Exhibition  at 
London.  It  won  golden  opinions  at  the 
Buffalo  Exhibition  of  Photography. 

Luke  Sharp  has  had. to  explain  to  our 
English  neighbors,  that  when  he  said  he 
could  not  tell  the  right  side  of  the  Eastman 
film  from  the  other,  that  he  was  go-aking. 
What  a  pity  some  people  don't  read  the 
Detroit  Free  Press,  and  learn  the  habits  of 
that  sharp  focusser  man. 

And  now  Mr.  J.  Peters  claims  to  have 
been  sharp  enough  to  have  taken  some 
"battle  photographs  under  fire,"  at  the  late 
unwholesomeness  in  the  Northwest.  Our 
recollections  of  "  under  fire  "  are,  that 
twenty  years  or  more  ago  the  smoke  con- 
siderably interfered  with  good  photography. 
But  then  there  wasn't  much  smoke,  Riel-ly, 
at  this  last-named  battle.  Mr.  Peters, 
though,  took  a  picture  "during  a  volley 
from  the  rebels'  pits  about  one  hundred 
and  fifty  yards  distant  "--ahem  !  say  four 
hundred  and  fifty  feet.  Were  the  feet  all 
on  one  side — a  flank  foto? 

On  the  9th  of  September  the  emulsion 
process  was  twenty-one  years  of  age.  Its 
parents  were  Messrs.  Sayce  &  Bolton,  and 
its  swaddling  clothes  were  collodion.  Its 
birthday  was  celebrated  by  the  London 
Photographic  Club. 


All  the  English  photo  publications  speak 
well  of  the  Eastman  film,  and  devote  sev- 
eral pages  to  drawings  and  descriptions  of 
the  roller-holder  and  film  carrier. 

The  Amateur  Photographer  is  a  sprightly 
weekly  published  in  London,  22  Bucking- 
ham Street,  Strand,  W.  C.  Its  neat  cover 
and  general  appearance  make  it  the  "pret- 
tiest" of  all  its  compeers  in  the  big  city. 
Its  older  contemporaries  snub  it  some,  but 
it  seems  to  get  along. 

It  is  remarked  by  one  of  our  British  con- 
temporaries that  the  larger  number  of  the 
papers  read  at  Buffalo  were  from  England. 
Very  true.  Let  us  exchange  again.  We 
were  busy  on  this  side  working  up  a  film 
process. 

Mr.  James  Inglis  has  associated  Mr. 
Wm.  E.  Dryer  with  him  in  the  manufac- 
ture of  dry  plates,  under  the  firm-name  of 
Inglis  &  Co.  Three  brands  are  now  made, 
"Extra  Quick,"  "Tourists,"  and  "Me- 
dium."    Send  for  a  price-list. 

The  Novelties  Exhibition  of  the  Frank- 
lin Institute  opened  September  loth,  and 
continues  until  October  31st.  It  is  a  grand 
exhibition,  well  worthy  of  a  visit. 

The  Photographic  society  of  Philadel- 
phia is  now  making  active  preparations  for 
its  fall  and  winter  exhibition.  If  you  have 
not  its  circular-list  of  awards  offered,  you 
should  get  it  now,  and  prepare  to  compete 
for  some  of  them. 

The  Photographic  Society  of  Great  Bri- 
tain will  open  its  annual  exhibition  October 
3d,  with  the  usual  conversazione. 

ANOTHER  THEATRICAL 
TRIUMPH. 

The  following  will  cause  all  our  readers 
to  congratulate  the  writer  on  his  results  : 
San  Francisco,  September  5, 1885. 

Last  week  I  was  asked  by  the  managers 
of  the  Grand  Opera  House  whether  it  would 
be  possible  to  obtain  a  photograph  of  the 
transformation  scene  during  the  perform- 
ance of  the  spectacular  play  of  "  Undine  " 
at  their  theatre  ! 

My  answer  was,  that  I  did  not  know,  but 
that  I   would   make  the  experiment.     Ac- 


THE    PHILADELPHIA    PHOTOGRAPHER 


337 


cordingly,  on  Wednesday  evening  last,  I  set 
up  my  inoffensive-looking  detective  camera 
in  a  stage  box  of  the  Opera  House,  and 
waited  for  "  further  developments." 

I  had  given  no  instructions  as  to  lights  or 
the  number  of  seconds  I  desired  the  curtain 
held,  and  so  had  to  take  things  as  I  found 
them. 

Two  exposures  were  made,  one  of  a  ballet 
tableau,  and  the  other  of  the  transformation 
scene.  The  former  received  eleven,  and 
the  latter  nine  seconds  exposure. 

The  stage  was  lighted  by  four  calcium 
lights,  two  being  placed  in  the  first  gallery 
of  the  theatre,  and  two  in  the  front  wings 
of  the  stage  ;  besides  this  the  gas  was  turned 
on  full  force. 

Both  exposures  were  successful,  though  a 
trifle  undertimed. 

During  the  transformation  scene  redlights 
were  burned  at  the  wings,  which,  strange 
to  say,  did  not  seem  to  decrease  perceptibly 
the  actinic  power  of  the  light. 

The  audience  did  not  notice  the  camera, 
and  were  unaware  that  anything  out  of  the 
common  was  taking  place. 

Next  week  the  experiment  will  be  re- 
peated on  a  large  scale  from  the  mezzanine 
boxes.  Three  or  four  large  cameras  and 
powerful  lenses  will  be  provided,  longer  ex- 
posures given,  and  the  lights  differently 
arranged  if  possible;  and  a  special  and  ex- 
ceedingly rapid  emulsion  prepared  for  the 
occasion  by  Dr.  Passavant. 

On  Wednesday  night  I  used  quarter  plates 
(Passavant's  C.  I.  P.),  and  a  five  and  a  half 
inch  focus  Darlot  rapid  hemispherical  lens, 
with  full  aperture,  developing  with  "  pyro  " 
and  potash. 

I  will  send  you  full  particulars  of  future 
experiments,  and  details  of  working,  in  my 
next  letter.  W.  B.  Tyler. 

[Mr.  Tyler  is  the  able  Secretary  of  the 
San  Francisco  Amateur  Club  ] 


One  of  the  most  curious  applications  of 
photography  that  we  have  yet  seen  is  a  slide 
for  the  microscope  containing  fifty  kinds  of 
foraminifers,  with  the  name  of  each  kind 
clearly  photographed  on  the  plate  itself. 
These  specimens  are  sold  at  five  dollars  each 
by  Messrs.  W.  Watson  &  Son,  of  London, 
who  furnish  a  great  many  to  microscopists. 


CAMERA  AMATEURS.* 

Spread  oe  the  Mania  for  Photography 

— Taking  Views  on  the  Wing — 

Scenes  in  the  Amateurs' 

Association  Kooms — 

Od»  and  Artistic 

Work.  ' 

"A  pleasant  and  natural  expression — not 
too  serious,"  has  for  years  been  the  awful 
sentence  imposed  upon  sitters  before  the 
cameras  of  photographers.  Then,  with  a 
feeling  of  crime  rising  rapidly  in  his  heart, 
the  muscles  of  his  face  becoming  like  iron 
and  cold  perspiration  starting  from  every 
pore,  the  anguish-stricken  sitter  has  dumbly 
glared  while  the  operator  held  the  time- 
piece of  fate  in  his  hand  and  counted  the 
slow  seconds  of  the  victim's  doom.  All 
that  has  been  changed — or  might  be,  rather, 
by  the  invention  of  the  dry  plate,  or  instan- 
taneous process  of  photography.  It  is  said 
that  it  might  be,  instead  of  that  it  has  been, 
for  the  peculiar  reason  that  the  dry-plate 
process  has  not  been  adopted  by  many  pro- 
fessional photographers,  although  there  are 
over  two  hundred  amateurs  who  are  success- 
fully using  it.  Many  of  the  professionals 
are  wedded  to  the  old  wet-plate  process  and 
are  slow  to  realize  the  advantages  of  the 
new,  if  in  fact  the  new  has  any  advantages 
for  the  professional,  for  it  is  not  claimed  here 
that  it  has.  But  to  the  scores  of  enthusi- 
astic amateurs  who  have  become  infected 
with  the  mania  for  photography,  the  in- 
stantaneous process  has  very  many  advan- 
tages. They  go  about  always  seeking  some- 
thing new  to  picture  with  their  faithful 
cameras,  and  what  they  seek  is  e-enerally 
of  a  nature  not  to  observe  any  injunction 
to  remain  perfectly  still  and  to  assume  a 
pleasant  and  natural  expression — not  too 
serious.  In  fact,  the  favorite  subjects  of  the 
amateurs  are  an}-thing  but  still  life  or  por- 
traits, as  a  visit  to  the  rooms  of  the  Pacific 
Coast  Amateur  Photographic  Association, 
318  Pine  Street,  will  show. 

TAKEN  ON  THE  MOVE. 

The  amateurs  prefer  something  on  the  go 
-^a  race-horse,  a  yacht,  the  clouds,  a  tangle 

*  San  Francisco  Daily  Chronicle. 


338 


THE    PHILADELPHIA    PHOTOGRAPHER. 


of  shrubbery  swayed  by  the  wind,  a  herd  of 
cows — anything  with  the  element  of  pic- 
turesqueness  or  oddity.  The  amateurs  are 
insatiable  and  ubiquitous.  The  one  who 
was  out  for  a  walk  with  his  camera  under 
his  arm  and  saw  a  balloon  just  ascending 
from  a  public  garden  was  considered  par- 
ticularly lucky.  The  balloon  was  "taken," 
of  course,  and  a  finished  picture  of  it  hangs 
as  a  trophy  on  the  walls  of  the  Societ3r's 
rooms.  Those  who  are  only  familiar  with 
the  cumbersome  apparatus  laboriously 
wheeled  about  in  photograpers'  studios  will 
be  puzzled  to  imagine  how  such  a  subject 
as  an  ascending  balloon  could  be  photo- 
graphed without  previous  preparation.  A 
polite  and  entertaining  amateur  who  showed 
a  Chronicle  reporter  through  the  Society's 
rooms  explained  this  interesting  point.  The 
amateur,  with  his  snug  little  apparatus  un- 
der his  arm,  is  always  ready  for  work.  At- 
tached to  the  camera  is  a  convenient  little 
arrangement  called  a  "finder,"  which  is  a 
camera  in  miniature.  When  a  yacht,  a 
friend,  a  pig,  a  couple  of  fighting  roosters, 
or  anything  else,  is  seen  and  wanted,  the 
amateur  takes  a  look  through  his  finder, 
waits  until  the  subject  is  sighted,  touches  a 
spring,  walks  unconcernedly  on,  and  the 
deed  is  done.  The  spring  which  he  touches 
works  a  mechanism  which  exposes  the  dry 
plate  for  less  than  one-hundredth  part  of  a 
second,  yet  a  perfect  negative  of  the  sub- 
ject has  been  taken.  The  clumsy  tripod  is 
no  longer  carried — only  the  camera  and 
some  plates — and  the  camera  is  held  in  the 
hands  or  under  the  arm,  or  rested  on  any 
convenient  object.  Many  amateurs  are  dis- 
playing a  very  pretty  taste  in  the  subjects 
of  their  work,  and  a  new  interest  is  created 
by  the  fact  that  they  take  so  many  objects 
in  motion. 

YACHTING  SCENES. 

Yachts  and  yachting  offer  an  endless 
variety  of  subjects.  Some  of  the  yachting 
scenes  exhibited  in  the  amateurs'  rooms 
were  taken  on  board  yachts.  When  sail  is 
being  made  or  shortened  or  reefed,  when 
the  yachtsmen  are  dining,  washing  up,  or 
in  the  unsettled  condition  a  rough  sea  some- 
times brings  about,  then  the  camera  is  at 
work.      The  reporter   noticed    one  picture 


which  represented  a  small  rowboat,  with  a 
single  occupant,  which  was  plunging  furi- 
ously through  an  otherwise  unoccupied 
waste  of  water.  The  picture  compelled  a 
second  glance,  for  while  the  little  boat  was 
racing  at  a  rate  which  dashed  the  water  in 
foam  from  its  bows,  the  occupant  sat  motion- 
less and  with  leisurely  folded  hands.  It 
had  a  more  than  Flying-Dutchman  effect, 
and  the  reporter  was  at  a  loss  to  account  for 
it  until  told  that  it  was  the  small  boat  of  a 
yacht.  It  was,  of  course,  attached  to  the 
sailing  yacht  by  a  rope,  but  the  operator 
had  so  skilfully  buried  the  rope  in  finish- 
ing the  picture  that  it  could  not  be  distin- 
guished from  the  water.  One  picture  on 
the  wall  represented  a  man  who  was  a  vivid 
personification  of  all  that  has  ever  been 
written  about  "the  -next  morning."  The 
man  sat  at  a  supper-table  with  the  wreck  of 
what  must  have  been  a  very  merry  feast  on 
all  sides.  A  noble  array  of  bottles,  glasses 
half  filled,  upset  and  otherwise  characteris- 
tically disposed,  remnants  of  cigars  and 
cigarettes,  some  withered  fruit,  and  a  tired- 
looking  corkscrew,  were  the  table's  acces- 
sories. The  victim  had  drawn  his  chair 
near  the  table,  from  which  he  turned  his 
face  in  weariness,  and  his  countenance  ex- 
pressed his  belief  that  all  is  vanity,  and  that 
the  brandy  and  soda  would  never  arrive. 
The  rest  of  the  story  is  as  follows :  A  party 
of  bachelors  passed  a  night  in  the  quarters 
of  one  of  them,  disposing  of  their  time  as 
bachelors  have  had  a  way  of  doing  before 
and  since  the  days  of  Charles  O'Malley. 
The  next  morning  there  was  a  weak  but 
plaintive  cry  for  brandy  and  soda.  The 
subject  in  the  picture  was  told  that  he  could 
not  have  his  drink  unless  he  left  his  bed  and 
took  a  seat  at  the  table.  Not  suspecting  the 
trick  he  did  so,  and  the  camera  of  an  ama- 
teur, lying  on  a  chair,  finished  the  work. 
(To  be  continued.) 

SOCIETY  GOSSIP. 

The  Photographic  Society  of  Phila- 
delphia.^— Minutes  of  the  regular  meeting 
held    Wednesday    evening,    September   2, 
1885.     Mr.  John  Carbutt  in  the  Chair. 
The  questions  in  the  box  were  as  follows: 
1st.    "When  usins;  a  long  focus  lens,  is 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


339 


not  the  length  of  draw  of  the  camera  more 
nearly  the  same  in  focussing  near  or  distant 
objects  than  when  a  short  focus  lens  is  used  ?" 

With  either  lens  the  difference  in  draw  is 
slight,  unless  the  object  is  very  near,  and 
the  image  of  the  object  large  in  proportion 
to  its  actual  size.  The  nearer  the  object 
and  the  larger  its  image,  the  further  from 
the  lens  will  the  plate  have  to  be  drawn, 
whether  a  long  or  a  short  focus  lens  is  used. 

Supposing  in  each  case  the  image  of  the 
same  object  is  to  be  reduced  to  a  certain 
fixed  size  with  each  lens.  If,  to  do  this, 
one  lens  requires  a  draw  of,  say  one-fourth 
more  than  its  focus  for  distant  views,  the 
other  will  also  require  one-fourth  more 
draw,  and  this,  with  a  long  focus  lens, 
would,  of  course,  be  more  in  actual  meas- 
urement than  with  a  short  one. 

2d.  "How  can  you  get  a  warm  red  or 
brownish  tone  on  a  wet  collodion  slide  ?" 

As  a  rule,  the  color  of  a  slide  depends 
greatly  on  the  relative  length  of  exposure,  a 
long  exposure  tending  to  give  the  reddish 
tones.  Much  depends  upon  the  condition 
of  the  silver  bath,  which  must  be  in  perfect 
order. 

It  was  recommended  to  use  a  thick  collo- 
dion, also  to  tone  with  a  weak  lemon-colored 
solution  of  sulphuret  of  potassium. 

Mr.  Carbutt  presented  the  Society  with  a 
window  transparency  representing  General 
Grant's  Cabin  in  Fairmount  Park.  The 
transparency  was  made  on  one  of  his  gela- 
tino-albumen  opal  plates. 

M.  A.  J.  Casseday,  representing  the  East- 
man Dry  Plate  and  Film  Company,  who 
was  present,  showed  a  number  of  paper 
negatives  and  prints  from  the  same ;  also 
the  apparatus  made  by  his  Company  for  ex- 
posing the  camera  in  the  paper  by  means  of 
a  holder  containing  sufficient  paper  to  take 
twenty-four  successive  pictures. 

The  holders  can  be  adapted  to  any  camera. 
The  paper  is  stretched  between  two  rollers 
at  either  end  of  the  holder,  and  passes  over 
a  board,  which  holds  it  perfectly  flat  and  in 
proper  position  when  the  slide  is  drawn. 

After  making  an  exposure,  by  means  of  a 
key  attached  to  one  of  the  rollers,  a  fresh 
portion  of  the  paper  is  brought  into  position , 
and  so  on  until   the  supply  is  exhausted. 


The  holder  occupies  the  same  space  as  three 
ordinary  double  holders,  while  it  contains 
paper  for  four  times  as  many  negatives. 
The  advantage  in  regard  to  weight  and  bulk 
is,  of  course,  obvious. 

Mr.  Casseday  demonstrated  before  the  So- 
ciety the  ease  with  which  a  paper  negative 
could  be  developed.  By  first  wetting  it 
thoroughly  with  water,  there  is  no  diffi- 
culty in  handling  the  paper.  As  the  film 
naturally  adheres  more  firmly  to  paper  than 
to  glass,  the  danger  of  frilling  is  obviated. 

In  regard  to  fixing,  owing  to  the  paper 
backing  to  the  film,  perhaps  it  is  not  quite 
so  easy  to  tell  when  the  hypo  has  done  its 
work,  but  close  observation  shows  plainly  a 
decided  increase  in  the  translucence  of  the 
negative  when  entirely  fixed. 

After  thorough  washing,  the  negative  is 
laid  face  downward  on  a  piece  of  glass,  and 
a  squeegee  passed  over  its  back  to  remove 
all  the  moisture  possible.  It  is  then  turned 
face  upward  and  laid  on  the  glass  or  any 
other  smooth  surface  to  dry.  If  done  in 
this  way,  it  is  said  that  it  will  dry  perfectly 
flat. 

"When  dry,  the  negative  is  passed  through 
a  bath  of  hot  castor  oil,  the  surplus  oil  being- 
wiped  off  with  a  cloth,  and,  when  dry,  it  is 
ready  to  print  from. 

A  valuable  advantage  possessed  by  paper 
negatives  is  the  ease  and  rapidity  with 
which  they  can  be  retouched.  Cloud  effects 
can  be  readily  produced — the  light  portions 
by  the  brush  or  stump,  and  the  dark  effects 
by  partly  rubbing  away  the  paper  backing 
of  the  film. 

As  showing  how  completely  any  effect  of 
grain  in  the  paper  is  overcome,  a  lantern 
slide  made  from  a  paper  negative  was  shown. 
When  thrown  on  the  screen  the  result  was 
as  perfect  in  this  respect  as  if  a  glass  nega- 
tive had  been  used.  The  slide  was  made  by 
reduction  in  the  usual  way,  by  means  of  a 
north  light,  acting  direct]}'  through  the 
negative. 

Some  lantern  slides  by  Mr.  Croughton, 
representing  Louisiana  scenery,  were  shown 
also  some  by  Mr.  W.  D.  H.  Wilson. 

Adjourned. 

Robt.  S.  Eedfield, 

Secretary. 


340 


THE    PHILADELPHIA    PHOTOGRAPHER. 


Society  of  Amateur  Photographers 
of  New  York.1 — An  informal  meeting, 
termed  an  "Experience  meeting,"  of  this 
Society,  was  held  at  the  rooms  1260  Broad- 
way, on  Wednesday  evening,  August  12th. 
The  Vice-President,  Dr.  John  H.  Janeway, 
occupied  the  Chair,  and  about  twenty  mem- 
bers were  present. 

The  secretary  read  a  letter  from  President 
Beach,  whose  engagements  did  not  permit 
him  to  be  present,  and  who  gave  an  account 
of  his  experiences  at  the  Buffalo  Conven- 
tion, at  Niagara,  etc. 

Mr.  Partridge  followed  with  some  "  ex- 
perience "  in  developing  at  hotels,  and  the 
expedients  he  resorted  to.  (Many  years  ago 
we  established  a  dark-room  in  the  hotel 
where  we  hid  each  summer  for  a  few  weeks 
— Dixville  Notch,  N.  H. — and  it  appears 
Dr.  "Williams,  one  of  the  speakers  at  this 
meeting,  found  it  and  used  it  the  past  sum- 
mer.) 

Mr.  H  J.  Newton  told  how  to  manage 
with  short  rations  of  water. 

Mr.  Ripley  made  some  excellent  remarks 
on  developers.  He  said :  "  Each  separate 
part  of  the  developer  has  its  own  special 
function.  We  are  very  apt  to  regard  the 
combination  as  the  thing.  It  is  the  thing, 
but  we  must  learn  to  suit  the  combination 
to  the  particular  circumstances  that  may  be 
presented  to  us.  If  we  do  that,  and  bear 
in  mind  what  the  special  function  of  each 
part  is,  we  shall  come  nearer  than  if  we 
mix  the  developer,  as  we  often  do,  by  a  hard 
and  fast  rule  of  so  much  of  No.  1  and  so 
much  of  No.  2  and  so  much  water,  for  any 
and  all  subjects.  For  instance,  take  the 
pyro  developer ;  what  does  each  part  do  ? 
I  take  it  that  the  pyro  is  the  developer,  the 
alkali  is  the  motive  power.  Bromide  of 
potassium  or  ammonium  we  use  to  restrain 
the  action  of  the  developer  and,  in  combina- 
tion with  pyro,  to  gain  density  and  contrast. 

"So,  if  we  bear  in  mind  the  conditions  of 
exposure,  and  regulate  the  separate  parts  of 

1  The  report  was  not  sent  us  until  it  had  been 
set  for  another  journal,  and  so  was  received  too 
late  for  our  last  issue.  As  it  has  been  twice 
published  it  is  hardly  worth  repeating  it  in  our 
current  number;  moreover,  as  we  are  over- 
crowded, we  give  a  synopsis  only. 


our  developer  to  suit  the  conditions,  we  can, 
without  much  difficulty,  get  something  that 
approaches  a  good  negative.  I  have  also 
found  pyro  itself,  without  any  bromide  to 
be  a  powerful  restrainer.  I  have  used  as  an 
experiment  twenty  or  thirty  grains  to  the 
ounce  of  developer,  and  obtained  a  fine 
negative.  In  developing  negatives  of  sub- 
jects with  strong  contrasts,  such  as  some 
interiors  or  landscapes,  commence  develop- 
ment with  half  the  amount  of  pyro  that  is 
intended  to  be  used,  which  will  bring  out 
the  details  in  great  softness,  then  add  the 
balance  of  the  pyro  in  combination  with 
some  bromide  to  finish  to  proper  density. 

"It  is  a  great  mistake  to  use  the  devel- 
oper too  strong  or  to  carry  development  too 
far.  We  want  to  get  out  the  detail  without 
fog.  Sometimes  in  case  of  very  short  ex- 
posures we  are  tempted  to  force  our  plates. 
We  do  not  gain  anything  after  all,  for  there 
will  be  fog  over  the  whole  surface,  which 
ruins  all,  while  a  thin  negative,  if  clear, 
can  be  intensified,  and  from  it  we  will  ob- 
tain good  prints,  which  is  the  result  we 
wish  for." 

Messrs.  Newton  and  Ripley  and  Dr.  Wil- 
liams followed  with  remarks  on  "crooked  " 
dry  plates,  and  then  the  poor  stenographer 
came  in  for  a  share  of  fault-finding. 

Mr.  Grander  recounted  his  experience  in 
the  far  west,  and  exhibited  a  number  of  his 
pictures,  and  finally  Dr.  Williams  related 
his  experience  at  Dixville  Notch.  Mr.  Rip- 
ley was  declared  a  true  amateur  though  he 
manufactures  plates,  and  then  a  meeting, 
the  report  of  which  would  require  nine  or 
ten  of  our  pages  to  print,  came  to  a  ter- 
mination. 


OBITUARY. 

Walter  Bentley  Woodbury  is  dead. 
The  sad  news  comes  to  us  through  our  Eng- 
lish exchanges,  just  as  we  go  to  press.  '  The 
warm-hearted  friend,  the  able  scientist,  the 
ingenious  inventor  is  dead- 

To  us  it  is  a  personal  bereavement,  for  we 
had  been  intimate  friends  for  nearly  twenty 
years.  In  our  next  issue  we  shall  endeavor 
to  place  upon  record  as  fitting  a  tribute  as 
in  our  weak  words  we  can. 


THE    PHILADELPHIA    PHOTOGRAPHER. 


341 


His  untimely  death  could  have  been  pre- 
vented had  an  unappreeiative  and  ungrate- 
ful world  done  its  duty  to  him. 

He  was  found  dead  in  his  bed  on  the 
morning  of  Saturday  September  5th,  away 
from  home — at  Margate.  He  had  made  an 
excursion  to  the  country  with  two  of  his 
little    children.      Being   weary   he    retired 


early,  and,  as  he  frequently  did,  took  lauda- 
num to  induce  sleep.  It  proved  an  over- 
dose, and  our  honored  friend  is  dead.  We 
do  not  hesitate  to  place  him  at  the  head  of 
all  the  inventors  in  our  art,  who  ever  lived. 
He  was  only  fifty-one  years  old,  and  it 
will  be  fifty  more  before  our  loss  can  be  re- 
paired. 


Pictures  Received. — From  Mr.  Clayton  II. 
Davis,  12  North  Seventh  Street,  Philadelphia, 
a  very  creditable  5x8  photograph  of  a  teamster 
at  rest,  The  diagonal  lighting  is  the  great 
charm  of  the  picture,  and  the  posing  of  the  group 
is  well  managed.  It  is  a  fine  bit  of  light  and 
shade.  Mr.  Davis  is  a  colored  man,  and  wants 
to  find  a  good  business  opportunity.  He  under- 
stands dry-plate  manipulation  thoroughly,  and 
can  give  excellent  references.  Mr.  B.  M.  Van 
Aken,  Elmira,  has  created  a  great  commotion  in 
our  study  by  his  picture  of  "  a  great  natural  curi- 
osity," A  friend  of  his  has  an  apple  tree  which 
bears  fruit  so  curiously  shaped  as  to  resemble  the 
bodies  of  chickeus,  ducks,  etc.  Artificial  legs, 
bills,  and  wings  are  added  to  a  group  of  them 
and  photographed,  and  this  quack-apple  photo- 
graph surreptitiously  mailed  to  us.  It  is  awfully 
funny,  but  please  send  on  the  feathers.  Mr.  W. 
H.  Kibbe,  Johnstown,  N.  Y.,  has  favored  us 
with  three  rather  ambitious  composition  pictures, 
which  are  very  pretty  in  conception  and  very 
well  managed.  One  is  ''  Maud  Muller,"  one  "  I 
am  Going  a  Milking,  Sir,  she  said,"  and  the  other 
"The  Puritan  Maiden."  The  last  we  consider 
the  gem  of  the  lot,  and  the  milkmaid  next  to  it. 
All  show  the  good,  careful  photographer,  and 
do  him  credit.  The  making  of  such  pictures  is 
excellent  exercise.  Mr.  C.  P.  Hibberd,  Burling- 
ton, Vermont,  has  added  a  very  refreshing  series 
of  White  Mountain  photographs  to  our  collection, 
8  x  10  size.  The  Old  Mill  and  the  Flume,  Fran- 
conia  Notch,  are  gems  of  the  first  water,  and  no 
pun.  They  were  made  on  Allen  &  Rowell's 
plates.  Some  portraits,  some  architectural  sub- 
jects, inside  and  exterior,  are  also  fine,  but  are 
eclipsed  by  one  of  the  Episcopal  Institute, 
which,  with  its  surroundings,  is  reflected  in  the 
clear  water  of  the  river.  It  reminds  us  of  scenes 
in  Scotland.  All  are  fine.  Mr.  Hibberd's 
results  are  equally  good  in  these  last,  which  are 
on  Cramer's  plates.  All  were  developed  with 
Allen  &  Rowell's  pyro  and  ammonia  developer. 


From  Mr.  J.  Inglis,  Rochester,  N.  Y.,  a  copy  Of 
the  wonderful  picture  he  made  at  Buffalo  of  the 
Convention  attendants  with  "all  hats  up." 
Certainly  a  photographic  cyclone,  this,  for  hats 
are  flying  upward  and  in  all  directions,  wag- 
gishly, regardless.  Every  man  who  parted 
with  his  hat  there  at  the  bidding  of  Mr.  Inglis 
gave  evidence  of  his  faith  in  the  quickness  of 
modern  photography.  Those  who  did  not  were 
unbelieving  Thomases,  and  the  man  who  said, 
"Faith,  and  before  I  will  throw  up  me  hat  I'll 
see  first  if  he  can  take  it  so  quick,''  was  an  itin- 
erant. Mr.  John  Bartlett,  of  this  office  is 
making  some  very  good  genre  studies  after  Mr. 
H.  P.  Hobinson.  Mr.  Gerhard,  Keokuk,  Iowa, 
favors  us  with  some  cabinets  of  admirable 
quality,  which  in  every  respect  do  him  credit. 
Posing,  lighting,  careful  retouching — all  show 
the  good  photographer.  Heimberger  &,  Son, 
New  Albany,  Ind.,  have  been  making  steady 
progress  for  several  years,  and  some  examples 
of  their  work  before  us  now  excel  anything  we 
have  seen  from  them.  Mr.  John  T.  Stubbert, 
North  Sydney,  Cape  Breton,  was  one  of  our 
helpers  at  New  Orleans,  and  since  his  return 
home  has  sent  us  some  comical  and  excellent 
baby  pictures.  Mr.  A.  A.  Baldwin,  Ludlow, 
Vermont,  another  one  of  our  helpers  at  New 
Orleans,  has  been  in  charge  of  Wyatt's  gal- 
lery, Brattleboro,  Vermont.,  for  some  weeks,  and 
sends  examples  of  his  fine  work.  Thanks  to 
both  of  these  gentlemen  for  their  kind  expres- 
sions to  their  old  employer.  Mr.  Baldwin  is  to 
settle  at  the  Partridge  gallery,  Boston,  as 
lessee,  we  learn.  Mr.  A.  H.  Plecker,  Lynch- 
burg, Va.,  favors  us  with  a  photograph  of  the 
house  at  Appomattox  where  General  Lee  sur- 
rendered to  General  Grant,  taken  on  the  day  of 
General  Grant's  burial.  From  Mr.  Duryea, 
Moonta,  South  Australia,  a  very  interesting 
series  of  photographs.  Among  the  portraits  are 
several  of  Mrs.  Ellen  Vivian,  in  the  character 
of  "Leah,    the    Forsaken,"    which   are  tine   in 


342 


THE    PHILADELPHIA    PHOTOGRAPHER 


pose.  Also  some  admirable  views  of  the  Wal- 
larow  Copper  Mines,  and  a  lot  of  portraits  of 
Australian  blacks,  who  are  far  more  repulsive 
and  pitiable  looking  than  the  Nubians  and 
Arabs  whom  we  have  met.  Mr.  Duryea  shows 
his  interest  in  his  far-away  coworkers  by  send- 
ing for  publication  his  formula  for  developer, 
which  we  give  on  another  page.  We  hope  to 
keep  up  communication  with  him.  From  Mr.  C. 
W.  Derstine,  Lewistown,  Pa.,  we  have  some  in- 
teresting specimens  of  good  work,  including  one 
of  a  young  lad  mounting  a  bicycle,  which  is  very 
natural  and  gracefully  posed.  The  work  is  ex- 
cellent. From  A.  W.  Manning,  Edina,  Mo.,  a 
wonderful  photograph  of  a  streak  of  lightning. 
A  duplicate  of  this  came  to  us  before  the  one 
noticed  last  month,  but  was  streaked  away,  so 
this  is  first. 

Views  op  English  Cathedrals.— For  twenty 
years  we  have  enjoyed  correspondence  with 
Prof.  C.  Piazzi  Smyth,  Astronomer  Royal  of 
Scotland,  and  the  great  pyramid  scholar  and 
photographer.  Recently  he  has  favored  us 
with  some  splendid  "scraps''  of  the  English 
cathedrals,  which  he  has  been  visiting  during 
his  vacation.  We  have  no  such  studies  in  our 
own  country,  and  neither  have  we  any  such 
royal  astronomer,  photographer,  and  genial 
friend  combined. 

The  Duplicating  Print  Cutter  is  the  last  in- 
vention of  that  useful  man,  Mr.  W.  G.  Entrekin. 
This  is  an  entirely  new  machine  for  cutting  out 
the  paper  before  or  after  printing.  By  folding 
a  whole  sheet  of  silvered  paper  to  cabinet  size, 
it  will  cut,  with  one  stroke  of  the  machine,  fifteen 
pieces  with  perfect  accuracy.  In  cutting  after 
printing,  you  have  full  view  of  the  print,  so  that 
each  can  be  cut  with  exactness.  Its  simplicity 
and  effectiveness  of  the  machine  are  truly  wonder- 
ful. Saves  time  and  paper,  and  is  just  what  the 
photographer  needs.  A  ny  size  made,  with  square 
or  round  corners,  oval  or  arch  top.  The  Im- 
proved Duplex  Rotary  Burnisher,  lately  intro- 
duced by  Mr.  Entrekin,  is  also  worthy  of  a 
place  in  every  studio.     See  advertisement. 


The  St.  Louis  Photographer  for  September  is 
embellished  with  1800  of  Mrs.  R.  Maynard's 
British  Columbia  babies.  Ye  gods  !  what  com- 
motion there  must  have  been  in  our  cotempo- 
rary's  printing  room  during  the  production  of 
the  pictures.  But  then  our  St.  Louis  friends  are 
amiable,  and  have  given  us  a  great  picture. 

A  Sample  Letter. — Enclosed  please  find  So 
for  The  Photographer  for  next  year.  Though 
only  an  amateur,  the  P.  P.  is  fully  appreciated  by 

Frank  H.  Butler. 

459  Lafayette  Avenue, 
New  York,  Sept.  18,  1885. 


Wilson,  Hood  &  Co.,  825  Arch  Street,  Phila- 
delphia, have  just  issued  a  very  elaborate  pic- 
torial catalogue  of  dry-plate  outfits,  with  net 
prices,  which  will  prove  a  great  convenience.  It 
is  splendidly  printed,  and  up  to  date. 

The  Practical  Photographer  is  edited  and 
published  quarterly  by  Dr.  H.  D.  Garrison 
76  Thirty-first  Street,  Chicago,  at  50  cents  a 
year,  and  everybody  should  have  it.  It  is  full 
of  practical  spice  and  good  sense. 


Mr.  J.  F.  Ryder,  Cleveland,  0.,  created  a  con- 
vulsion in  our  office  about  three  weeks  ago,  so 
serious  that  all  hats  have  to  be  hung  outside 
and  frames  tied  fast  to  the  wall  (we  always  keep 
our  bookcase  locked),  by  springing  upon  us  his 
new  picture,  "The  Drummer's  Latest  Yarn." 
Take  not  our  word  for  it,  but  send  25  cents,  right 
away,  and  get  it.  Insist  on  the  circular  without 
extra  charge. 


A  new  doctrine  is  it  that  "the  Executive 
Committee  never  drew  on  the  treasury  for  their 
travelling  expenses."  We  think  the  old  N.  P. 
A.  set  the  example,  and  we  think  all  the  mem- 
bers hold  a  lot  of  unpaid  drafts,  too,  of  the  Ex- 
ecutive Committee. 

Thors,  the  progressive  San  Francisco  photog- 
rapher, causes  us  a  pleasant  surprise  two  or 
three  times  a  year  by  a  batch  of  his  work.  He 
is  an  artist  who  truly  impresses  his  individuality 
upon  his  work.  Original  treatment  of  the  sub- 
ject and  varied  style  are  his  forte,  and  his  pic- 
tures always  cause  one  to  look  them  over  again 
and  again  with  interest. 


Mr.  Cassidy,  one  of  the  demonstrators  of  the 
Eastman  Dry  Plate  and  Film  Co.,  has  been 
posting  Philadelphia  photographers  for  three 
weeks.  The  societies  met  him  with  great  en- 
thusiasm. We  have  made  some  admirable 
lantern  slides  from  Eastman  film  negatives, 
perfectly  free  from  any  granular  appearance — 
as  fine  as  from  glass. 

Mr.  B.  W.  Kilburn,  Littleton,  N.  H.,  rested 
four  hours  with  us  early  in  September.  For 
over  twenty  years  we  have  chummed  together 
with  the  camera  in  the  woods,  on  the  mountains, 
at  sea,  and  where  not,  and  it  grows  newer  to  us 
every  day,  we  have  decided.  We  presume  no 
man  living  has  made  so  many  negatives  as  Mr. 
Kilburn. 


THE    PHILADELPHIA    PHOTOGRAPHER. 


3^3 


Mr.  S.  P.  Tressler,  late  of  Fort  Scott,  Kan., 
has  purchased  the  studio  of  C.  E.  Wallin,  at 
Montgomery,  Ala.,  and  has  met  a  cordial  wel- 
come there.  He  has  added  a  number  of  im- 
provements, and  will  succeed,  doubtless. 


Messrs.  Allen  Bros.,  Detroit,  Mich.,  have 
favored  us  with  a  very  pretty  souvenir  of  their 
city,  containing  a  dozen  views. 


Mr.  W.  H.  Jackson,  Denver,  Col.,  gives  the 
Eastman  paper  negatives  the  highest  kind  of  a 
recommendation. 


"Overflow  Books"  (see  adver.)  brought  us 
an  overflow  01  orders  last  month.  A  few  more 
left.  A  good  way  is  for  the  photographers  in 
one  place  to  club  their  orders  and  save  express- 
age.  Read  all  about  it  and  order  early.  Here 
is  a  sample  : 

Bank,  Blount  Co.,  Tenn., 
Aug   31,  1885. 
Mr.  E.  L.  Wilson, 

Sir:  Please  send  me  Wilson's  Photographies, 
Pictorial  Effect  in  Photography,  and  Gihon's 
Colorists'  Guide.  The  latter  two  are  advertised 
in  the  Philadelphia  Photographer  for  Sep- 
tember. I  enclose  five  dollars  for  the  above 
books.  I  am  much  pleased  with  the  Photog- 
rapher, and  hope  to  be  able  t'>  continue  it 
through  the  year.  Am  just  commencing  work 
in  the  photographic  line,  with  the  expectation 
of  making  it  my  "  calling  and  support,''  and 
need  all  the  help  I  can  get.  Your  picture  for 
September  is  truly  a  gem. 

Respectfully, 

Anna  M.  Lord, 

Care  Rev.  C.  B.  Lord. 


In  giving  the  names  of  the  parties  whose 
pictures  were  included  in  the  set  used  in  our 
August  issue,  we  made  a  misspell  of  the  name 
of  the  great  architect  of  the  Capitol  Building  at 
Washington,  D.  C,  Thomas  N.  Walter,  Esq. 
(and  not  Walker,  as  we  printed  it). 

We  have  sold  our  retail  lantern  and  slide  busi- 
ness to  Mr.  T.  H.  McAllister,  49  Nassau  Street 
New  York,  and  in  that  line  confine  us  to  the 
manufacture  of  special  slides  to  order,  and  from 
our  own  personal  negatives.  We  commend  Mr. 
McAllister  heartily  to  all  intending  buyers. 
See  his  136  page  catalogue. 


Mr.  Leon  Van  Loo,  the  genial  Cincinnati, 
only  Van  Loo,  remained  at  our  office  a  few 
weeks  ago  and  gave  us  his  annual  lecture  on 
the  folly  of  low  prices.  You  will  find  it  all  in 
our  little  leaflet,  "  A  Quiet  Chat  on  Prices," 
copies  of  which  are  free.     Send  for  one. 


The  following  postal  card  is  to  be  considered 
as  sent  to  you,  and  responded  to  accordingly. 
Please  write  down  and  send  now,  without  wait- 
ing for  the  limit  of  time  : 

Philadelphia,  Sept.  15,  18S5. 
My  Dear  Sir:  I  come  to  you  again  with  the 
request  that  you  help  me  make  Mosaics  (for 
1886)  useful  for  the  fraternity  at  large.  I 
make  the  usual  offer  for  your  article,  a  bound 
copy  of  the  book,  which  will  go  to  you,  post- 
paid, as  soon  as  issued.  Please  let  it  be  as 
practical  as  possible,  pointed  and  clear,  and 
not  necessarily  "  dry."  If  you  can,  let  me  have 
your  copy  by  the  15th  of  October,  or  as  much 
earlier  as  possible,  and  oblige, 

Fraternally  Yours, 

Edward  L.  Wilson, 
1125  Chestnut  Street, 


Is  Such  Neglect  ? — A  subscriber,  in  remitttng 
a  little  late,  says  :  "  Pardon  us  for  not  respond- 
ing before.  It  is  so  small  a  matter  that  it  had 
entirely  slipped  our  minds.''  Please,  friends,  do 
not  so  (in)  consider  us. 


Mr.  G.  W.  Chandler,  for  several  years  ope- 
rator with  Messrs.  Chute  &  Brook,  Buenos 
Ayres,  S.  A.,  called  upon  us  in  good  health  a 
few  days  ago.  He  goes  back  to  New  England 
to  live.     He  showed  us  some  excellent  work. 


Packing  Dry  Plates  has  become  so  serious 
a  consideration  all  around  that  manufacturers 
are  looking  into  it  most  seriously.  What  fol- 
lows then  will  be  a  welcome  bit  of  news:  "I 
have  applied  for  a  patent  on  a  box  to  pack  dry 
plates.  The  ends  are  of  corrugated  spring 
steel,  adjustable.  The  box  is  made  of  tin. 
This  box  completely  does  away  with  all  doubt  as 
to  the  plates  changing  on  account  of  separators 
or  soda  in  the  paper.  We  shall  have  the  Stanley 
plate  put  up  in  these  boxes  for  amateurs,  £ 
4x5,  5x7,  5x8,  and  larger  sizes,  as  soon  as 
possible.  It  also  serves  as  a  negative  box. 
The  steel  ends  being  hard  and  smooth,  no  par- 
ticles of  matter  scrape  from  the  contact  of  glass. 
V.  M.  Wilcox, 
of  E.  &  H.  T.  Anthony  &  Co., 
New  York. 


The  Eastman  Film  abroad  is  winning  friends. 
An  active  discussion  concerning  it  has  been  going 
on  in  the  London  Times,  but  only  to  confirm  the 
fact  that  our  American  friends  are  away  ahead 
of  all  else  in  quality. 


Do  not  forget  to  read  about  the  New  Eury- 
scope  of  Voigtlander  in  Messrs.  B.  French  & 
Co.'s  advertisement.     See  specialties. 


344 


THE   PHILADELPHIA   PHOTOGP APHEP. 


In  the  British  Journal  for  August  14,  our 
friend  Prof.  Stebbing  claims  for  Monsieur  Audra 
the  process  of  developing  in  two  solutions,  given 
by  Mr.  D.  Bachrnch,  Jr.,  first  in  this  magazine 
for  June,  1884,  and  then  modified  and  more  fully 
in  Mosaics,  1885,  page  120,  which  wrong  we  de- 
sire to  correct.  Had  the  process  become  more 
general,  as  it  deserves  to  be,  it  could  not  have 
been  thus  claimed  for  another.  If  you  have  not 
Mosaics,  you  should  get  it  and  try  it.  In  recent 
correspondence  with  Mr.  Bachrach  on  the  sub- 
ject, he  says  : 

"  It  is  best  to  use  no  bromide  in  the  pyro  bath, 
and  only  one-half  the  quantity  of  sulphate  of 
soda  recommended  (no  alteration  in  the  sulphite). 
Instead,  we  put  the  restrainer  necessary  for 
p>lates  that  require  it  in  the  alkaline  solution. 
Another  desirable  improvement  would  be  some 
((stringent  in  the  pyro  solution  in  place  of  the 
sulphate  of  soda.  In  warm  weather  it  cannot 
well  be  worked  without  it." 


Good  News  Ahead,  this  is. — "I  enclose  a 
paper  for  Mosaics,  1886,  the  result  of  a  little 
experiment  just  concluded,  which  I  trust  will 
prove  both  interesting  and  profitable  to  the  fra- 
ternity. I  am  feeling  splendidly,  because  I 
have  got  my  plates  to  working  quick  as  light- 
ning, and  clear  as  a  crystal,  and  now  orders  are 
not  lacking.  Yours  truly, 

'■  II.  D.  Garrison." 


Prizes  at  the  St.  Louis  Convention. — "  The 
regulations  in  regard  to  exhibits,  prizes,  etc., 
being  left  to  the  executive  officers  for  the  St. 
Louis  Convention,  they  (having  all  been  con- 
sulted) substantially  agree  on  the  following  pro- 
positions, the  details  of  which  will  be  more  fully 
elaborated  and  formally  promulgated  at  its  first 
executive  meeeting  : 

1st.  The  maximum  limit  of  space  allowed  to 
any  one  exhibit  will  be  placed  at  about  300 
square  feet. 

2d.  Pictures  entered  for  prizes  must  be  from 
negatives  made  since  the  Buffalo  Convention, 
the  competitor  certifying  on  honor  to  this  fact. 

This  information  is  given  as  early  as  possible, 
so  that  all  interested  may  know  the  gist  of  the 
Committee's  probable  action  in  the  matter.  May 
the  best  win.  W.  H.  Potter. 

Indianapolis,  Sept   17,  1885. 

Wonderfully  curious  pictures  of  Barnum's 
troupe  of  elephants  on  street  parade  in  St.  Johns- 
bury,  Vt.,  July  25,  1885,  have  been  sent  us  by 
Mr.  D.  A.  Clifford,  the  veteran  photographer 


of  that  city.  One  of  them  is  taken  at  the  head 
of  the  procession,  with  the  now  lamented  Jumbo 
leading.  The  other  is  from  the  rear.  They 
were  made  in  one-twenty-fifth  of  a  second,  and 
are  remarkably  good.  They  prove  that  when 
he  walks  the  elephant  can  carry  his  trunk  and 
lift  two  of  his  great  feet  at  one  time. 


A  splendid  collection  of  photo-mechanical 
work  has  been  sent  us  by  the  Photogravure 
Co.,  853  Broadway,  N.  T.  It  consists  of  about 
fifty  specimens  from  their  new  works  of  prints 
by  the  various  processes  which  they  work, 
known  as  photo-gravure;  gelatine  printing 
(heliotype);  photo-lithography  (Osborne's  pro- 
cess); photo-lithography  in  half  tone;  photo- 
engraving, and  photo-engraving  in  half  tone. 
The  prints  are  on  enamelled  and  plain  paper  ; 
upon  linen,  silk,  and  satin;  in  tint,  stipple,  and 
half  tone ;  portraits  and  landscapes  from  nature ; 
representations  of  all  kinds,  and  most  beauti- 
fully done  in  a  great  variety  of  colors.  Fifteen 
years  ago,  if  a  crayon  artist  could  make  a  life- 
size  head  look  as  well  as  one  of  these  portrait 
prints  of  same  dimensions,  he  would  have  more 
than  he  could  do.  The  prints  in  colors  have 
never  been  equalled.  Mr.  Ernest  Edwards  is 
the  practical  president  of  the  new  company,  and 
it  is  bound  to  have  success  under  him,  for  few, 
if  any,  are  such  entire  masters  in  this  line  as 
he  is.  Photographers  realizing  that  the  Pho- 
togravure Co.  produce  cheaply  prints  of  all 
grades,  from  the  quality  of  "  Our  Picture  "  to 
that  of  the  engravings  in  our  advertisements, 
ought  not  to  be  slow  to  see  that  they  can  make 
the  Photogravure  Co.  of  great  use  to  them  in 
their  business,  for  every  one  of  them  can  work 
up  orders  for  these  productions  and  make  money 
on  them.     (See  advertisement.) 


French's  Ornamental  Relief  Border 
Flexible  Negatives. — Mr.  C.  IvI.  French  has 
removed  his  studio  to  Oneonta,  N.  Y.,  where  he 
now  manufactures  his  famed  negatives  for 
borders.  The  New  Eastman  Film  now  enables 
him  to  produce  flexible  negatives  instead  of 
glass,  the  advantages  of  which  will  be  seen  at 
once.     (See  advertisement.) 


Good. — Mr.  C.  W.  Motes,  one  of  our  veteran 
photographers,  is  applauded  by  the  Atlanta 
newspapers  for  maintaining  his  prices  and 
making  the  "  best ''  photographs  possible. 


The   Minneapolis   Amateur    Photo    Club    has 
been  formed  with  a  membership  of  twenty. 

Write  for  Mosaics  for  18S6  now. 


MAKE  OUT  YOUR  OWN  BILL,  and  remit  cash  with  your  advertisements,  or  they  will  not  be 
inserted. 

ADVERTISING  RATES  FOR  SPECIALTIES Six  lines,  one  insertion,  $2.00,  and  25  cents  for 

each  additional  line,  seven  words  to  a  line — in  advance.  Operators  desiring  situations,  no  charge.  Matter 
must  be  received  by  the  23d  to  secure  insertion.  Advertisers  will  please  not  ask  us  for  recommendations. 
>8®»  We  cannot  undertake  to  mail  answers  to  parties  who  advertise.  Please  always  add  your  address  to  the 
advertisement.     Postage-stamps  taken. 


SEAVEY'S  NEW  YORK  NOVELTIES. 
Fall  Season. 

Our  small  size  (6  ft.  x  8  ft.)  interior  and 
exterior  backgrounds  for  full  and  |  lengths, 
at  from  $9.60  to  $14.40,  have  struck  the 
popular  taste. 

They  are  new  in  design,  quiet  in  tone, 
first  class,  and  different  from  any  before 
offered. 

For  further  description,  see  last  month's 
advertisement.     Send  for  samples.     For  the 
fall  season,  orders  should  be  given  now. 
Lafayette  W.  Seavey, 
216  E.  Ninth  St.,  N.  Y. 


For  Sale. — First-class  gallery,  located  in  one 
of  the  smartest  of  New  England  towns.     Doing 
a  good  business;  elegantly  fitted.     Must  be  sold 
at  once.     Will  sell  at  a  sacrifice.     Address 
A.,  Care  Benj.  French  &  Co., 

319  Washington  St., 

Boston,  Mass. 


For  Sale. — A  gallery  established  ten  years, 
averaging  a  business  of  $800  per  month.  Well 
supplied  with  instruments,  backgrounds,  etc. 
Prices  good.  No  club  work.  Will  sell  whole  or 
half  interest  to  right  party.  Don't  write  unless 
you  have  some  ready  cash.     Address 

Operator,  Care  of  Geo.  Murphy, 
250  Mercer  St.,  New  York. 


Backgrounds!  Backgrounds!  Backgrounds! 
— I  undertake  to  paint  them  for  photographers. 
Send  for  particulars. 

M.  H.  Albee, 
Marlboro,  Mass. 


ROOT 00D  SOLAR  PRINTING  CO. 

17  Union  Square,  New  York. 

TIME. — It  is  our  intention  that  every  order 
received  in  the  morning's  mail  (when  not  to  be 
put  on  stretchers)  shall  leave  this  establishment 
the  same  day  or  the  following  morning.  If  too 
late  for  the  morning  work,  it  is  sent  on  the  sec- 
ond day.  Having  our  own  engine  and  electric 
light,  we  are  not  at  all  dependent  on  the  weather. 
GEORGE  H.  K0CKW0OD, 
Business  Manager. 


W.  F.  ASHE 

ARTISTIC    BACKGROUNDS 

AND 

ACCESSORIES, 

REMOVED  TO  68  WEST  FOURTH  ST., 
4  Blocks  West  op  Broadway,  N.  Y. 

My  new  studio  is  fitted  up  with  all  the  mod- 
ern improvements,  and  the  most  refined  demands 
from  a  critical  public  can  be  satisfied.  A  visit 
to  my  establishment,  which  has  the  largest 
showroom,  containing  the  greatest  amount  of 
stock  of  any  place  in  the  world,  will  be  grate- 
fully appreciated. 

I  have  again  added  numerous  new  designs  to 
my  great  variety  of  patterns  for  backgrounds 
and  accessories,  and  keep  also  in  stock  a  large 
quantity  of  goods  for  parties  to  select  from, 
saYing  time  and  delay  on  orders. 


346 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


WILSON'S  PHOTOGRAPHIOS. 

$4.00  $4.00 

The  Best. 


Look  into  it  for  anything  yon  want ;  yovi 
are  pretty  sure  to  find  it.    The  Pho- 
tographers' Encyclopedia. 

For  Sale. — One  of  the  best  and  most  favor- 
ably known  photograph  galleries  in  St.  Paul. 
Address  C-54,  Pioneer  Press, 

St.  Paul,  Minn. 

PORTRAITS  IN  CRAYON. 
The  new   book    by   E.   Long,   on    the   art   of 
making  portraits   in   crayon   on   solar   enlarge- 
ments, covers  the  entire  ground,  and  is  sold  for 
the  low  price  of  fifty  cents.     For  sale  by 

Edward  L.  Wilson, 

Philadelphia. 

METAL  GUIDES 

FOR 

A.  M.  COLLINS,  SON  &  CO.'S 
No.  26  Gilt  Beyelled-edge  Cards. 

The  fancy-shaped  mounts  now  so  fashionable 
among  photographers,  require  metal  guides  with 
which  to  cut  the  photographs.  They  are  now 
kept  on  hand,  and  can  be  supplied  in  the  follow- 
ing shapes,  and  at  the  prices  mentioned  : 

Each. 

Cross $1  05 

Star 1  00 

Palette 90 

Leaf -. 90 

Bell 90 

Crescent 80 

%g 50 

Triangle 90 

For  sale  by  Edward  L.  Wilson, 

1125  Chestnut  Street, 

Philadelphia?  Pa. 


KUHN'S 
Sensitized  Paper,  Stretcher,  and  Dryer. 

This  simple  arrangement  cannot  but  commend 
itself  to  every  practical  photographer.  Paper 
dried  in  this  manner  lies  perfectly  flat,  and 
therefore  better  prints  can  be  made,  and  you 
can  also  cut  your  paper  either  lengthwise  or 
crosswise  of  the  sheet,  as  it  neither  stretches  nor 
shrinks  afterwards..  In  addition  to  all  the  above 
advantages,  the  paper  is  much  more  easily 
handled  than  in  any  other  way  ;  in  fact,  it  is  no 
trouble  at  all.  The  Stretchers  are  made  in  two 
sizes,  for  whole  or  half  sheets.     See  circular. 

Price,  either  size,  each  $1.50.  For  sale  by  all 
dealers. 

H.  A.  Hyatt,  Trade  Agent,  Dealer  in 

Photographic  Goods  of  every  Description. 
8th  and  Locust  Sts.,  St.  Louis,  Mo. 


jHHIgggj 


WILSON'S  PHOTOGRAPHIOS 

Teaches  how  to  get  rid  of  every  monster 
and  trouhle  in  the  practice  of  the  art. 

$4.00  $4.00 

M.  WERNER, 

PORTRAIT    ARTIST, 

No.  102  N.  Tenth  Street,  Philadelphia. 

Photographs  finished  in  crayon,  India  ink, 
water  colors,  and  pastel,  in  all  sizes,  in  the  very 
best  styles,  and  at  moderate  prices. 

Solar  Prints  and  Enlargements  Furnished, 


Every  photographer  in  want  of  excellent 
lenses,  for  any  purpose,  will  best  serve  his  interest 
by  consulting  the  new  illustrated  price-list  of 
Messrs.  Benjamin  French    &  Co.    before  pur- 


THE  PHILADELPHIA  PHOTOGRAPHER, 


347 


VOGEL'S 

Photographic  Progress. 
$300  $3.00 

347  Pages. 

a 


A  word  for  all,  and  you  never  shut-ter 
without  learning  something  useful. 

KUHFS 
Lightning  Intensifier  for  Dry  Plates. 

Owing  to  the  great  rapidity  of  Dry  Plates,  it 
often  happens  that  the  negatives  made  are  either 
over-  or  underexposed,  and  it  becomes  necessary, 
as  with  the  wet  process,  to  strengthen  them,  in 
order  to  get  good  results.  It  is  usually  done 
with  bichloride  of  mercury  and  iodide  of  potas- 
sium. But  this  has  serious  drawbacks,  as  plates 
intensified  by  this  method  require  a  great  deal 
of  washing,  and,  after  printing  a  quantity  of 
pictures  from  such  a  negative,  it  will  not  retain 
its  original  color,  but  turn3  yellow,  and  then  a 
good  print  cannot  be  obtained.  This  Lightning 
Intensifier,  when  applied,  gives  a  beautiful  blue 
or  cherry  color  to  the  negative,  and  has  the  fol- 
lowing advantages :  It  stands  the  light,  and 
keeps  its  original  color ;  admits  the  light  through 
and  prints  beautifully.  Besides  this,  it  can  be 
applied  on  any  part  of  the  Plate  to  lighten  the 
deep  shadows,  etc.,  by  applying  with  a  soft 
camel's  hair  brush.  In  fact,  the  finest  results 
from  under-  or  overexposed  negatives  are  ob- 
tained if  these  solutions  are  used  as  directed. 
The  solutions  are  very  concentrated,  and  are  put 
up  in  two  bottles  containing  two  ounces  each, 
and,  when  diluted  to  proper  strength,  each  bottle 
makes  sixteen  ounces  of  solution,  or  it  can  be 
used  in  the  more  concentrated  form  if  required. 

For  sale  by  all  dealers. 

H.  A.  Hyatt,  Trade  Agent,  Dealer  in 
Photographic  Goods  of  every  Description. 
8th  and  Locust  Sts.,  St.  Louis,  Mo. 


THE  STANLEY  PLATES. 

Chicago,  May  30,  1885. 
Messrs.  E.  &  H.  T.  Anthony  &  Co. 

Gentlemen:  I  have  tried  the  Stanley  Plate 
you  sent  me  lately,  and  I  am  quite  satisfied  that 
it  is  as  good  a  plate  as  I  could  wish  for,  working 
quick,  clear,  with  fine  details  and  beautiful 
roundness  of  image.  I  tried  different  developers 
on  xhern,  but  find  the  pyro  and  potash  to  give 
the  most  satisfactory  results. 

Yours  truly,  H.  Rocher. 

New  York,  June  8,  1885. 
Messrs.  E.  &  H.  T.  Anthony  &  Co. 

My  Dear  Sirs  :  The  four  dozen  Stanley  Plates 
I  had  from  you  last  week  were  all  that  could  be 
desired — rapid,  intense,  and  with  not  the  slight- 
est disposition  to  fog.  For  instantaneous  ex- 
posures of  steamers  under  full  headway,  I  gave 
1-50  of  a  second  ;  for  reproductions  by  gaslight, 
5  seconds ;  for  ordinary  negatives,  15  feet  dis- 
tant from  a  common  gas-burner,  and  the  contrast 
of  the  pure  white  and  black  is  remarkable.  I 
am,  very  truly  yours, 

J.  J.  Higgins,  M.D., 
23  Beekman  Place. 


WILSON'S  PHOTOGRAPHIC S. 

All  about  emulsion  work  and  plate  mak- 
ing—a  -whole  big  chapter.    See  index. 

$4.00  Buy  it.  $4.00 


Address  T.  W.  Power,  N.  Y.,  Secretary  of 
Association  of  Operative  Photographers  of  New 
York  City,  for  operators,  printers,  and  .  re- 
touchers  392  Bowery,  or  487  Eighth  Avenue. 


348 


THE    PHILADELPHIA    PHOTOGBAPHEK. 


List  of  Articles  for  Sale  and  Prices  for 
Same. — All  cameras  in  list  are  American  Optical 
Company's  best  quality.  Used  by  Edward  L. 
Wilson  at  tbe  New  Orleans  Exhibition  : 

Each. 
1  10x12  D.  S.  B.    Revolving   Camera 

Box,  back  focus      .         .         .         .  42  00 

1  Hinged  Tripod 3  50 

4  14  x  17  New  Style  Plate  Holder,  extra     9  00 

20    15  x  8        "  "  "  1  35 

2  14x17  Flat  Printing  Frames     .         .2  00 
4  10x12  it  u  _  70 

10    8  x  10  "  "   ■  60 

100    5x8  "  "      $45  per  100         50 

6  Drying  Racks 30 

Cash.     All  guaranteed  in  good  order. 
Address  Edward  L.  Wilson, 

1125  Chestnut  Street, 
Philadelphia,  Pa. 


THE  PLATINOTYPE  (Patented). 

Send  ten  cents  for  instructions  and  sample, 
portrait  or  landscape. 

WILLIS  &  CLEMENTS, 

25  North  Seventh  St.,  Philadelphia,  Pa. 

BUCHANAN,  SMEDLEY  &  BROMLEY, 

General  Agents  for  the  sale  of  materials. 


For  Sale  Cheap. — The  best  photo  wagon  in 
the  country.     Address 

W.  W.  Silver, 
102  Fulton  St.,  New  York. 


For  Fall  Advertising,  try  "  A  Quiet  Chat 
on  the  Prices  of  Photographs,"  by  the  Chief 
Photographer,  to  his  patrons. 

This  little  leaflet  has  been  compiled  with  the 
view  of  helping  you  to  raise  your  prices.  Look 
it  over  carefully  and  see  if  you  cannot  make  it 
serve  you  a  good  purpose.  Nerve  yourself  up 
in  the  matter.  Make  the  effort  and  you  will 
succeed. 

You  can  have  whatever  you  want  on  the  first 
and  fourth  pages  of  the  cover  without  extra 
charge.  Add  your  new  scale  of  prices,  and  get 
advertisements  to  help  pay  you.  The  rest  is 
stereotyped. 

Prices. 

1000  copies  ....  $15.00 

3000      "  ....     36.00 

5000      "  .  50.00 

Send   for   sample   copy.      It   will   help    keep 

prices  up. 

Edward  L.  Wilson,  Publisher, 
1125  Chestnut  St.,  Philadelphia. 


S   &    M. 

Caution. — The  genuine  and  original  S  &  M 
Extra  Brilliant  Paper  always  has  the  water 
mark  S  &  M  in  every  sheet. 

A  good  deal  of  paper  is  sold  with  merely  the 
stamp  in  the  corner.  This  may  be  good,  and  it 
may  not,  according  to  what  paper  is  used  by  the 
parties  who  want  to  work  it  off  by  putting  on  a 
stamp  that  has  a  reputation. 

Look  through  the  paper  for  the  water  mark. 
E.  &  H.  T.  Anthony  &  Co. 


Wanted. — A  first-class  artist  in  crayon,  India 
ink,  and  pastels.  To  such  a  good  salary  will  be 
paid.     Address 

Edward,  Care  Allen  Bros., 
Detroit,  Mich. 


SITUATIONS  WANTED. 

No  charge  for  advertisements  under  this  head:  limited, 
to  four  lines.     Inserted  once  only,  unless  by  request. 

By  a  young  man  of  good  habits,  as  printer 
and  toner  and  general  assistant.  Can  give  ref- 
erence. Address  P.  O.  Box  518,  Rochester, 
N.  Y. 

By  a  young  man  as  retoucher  or  toner,  or  both. 
Strictly  first-class,  with  five  years'  experience. 
Address  Box  306,  Petrolia,  Ontario. 

As  operator.  Ten  years'  experience.  Address 
Q-us.  Theilkuhl,  15  4th  Street  S.  E.,  Washington, 
D.  C. 

By  a  young  man,  position  as  assistant  operator 
or  general  assistant  in  first-class  gallery.  Ad- 
dress 0.  K.,  Box  114,  Lancaster,  Pa. 

As  first-class  operator.  Address  G.  W.  Chan- 
dler, care  of  Wm.  Waidman,  Bristol,  Pa. 

To  do  retouching.  Other  work  if  necessary. 
Address  Miss  C.  T.  Ball,  Cortland,  Cortland  Co., 
N.  Y. 

As  printer  and  assistant  retoucher;  with 
chance  for  improvement.  Address  Photog- 
rapher, Box  541,  Wysauking,  Pa. 

As  first-class  printer  and  toner.  Five  years' 
experience;  good  reference,  and  no  bad  habits. 
Chicago  preferred.  Address  Jacob  Schaefer,  381 
Columbus  St.,  Cleveland,  Ohio. 

By  a  first-class  retoucher.  Can  assist  in  all 
other  branches  of  photography.  Address  G. 
W.  De  Nise,  Forestville,  Chautauqua  Co.,  N.  Y. 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


349 


By  a  young  lady,  as  retoucher.  Can  attend 
reception  room,  or  assist  in  finishing  photos. 
Best  of  reference  given.  Address,  Jennie  Cabana, 
42  Murray  St.,  Burlington,  Vt. 

By  a  lady  to  retouch  and  attend  reception- 
room.  Samples  sent,  or  will  retouch  negatives. 
Address  K.  B.,  care  of  Mrs.  Lockwood,  Ripon, 
Wisconsin. 

By  a  first-class  operator  as  portrait  or  com- 
mercial landscaping,  and  full  knowiedge  in 
making  line  negatives  for  photo-lithographers, 
wet  or  dry  plates.  Address  H.  Geissinger,  626 
Arch  St.,  Philadelphia. 


By  a  first-class  printer  and  toner.  Address 
Printer,  130  Genesee  St.,  Auburn,  N.  Y. 

By  a  young  lady  to  retouch  and  attend  recep- 
tion-room. Address  Situation,  246  Mill  Street, 
Springfield,  Mass. 

By  an  operator  of  first-rate  ability,  thoroughly 
artistic  in  lighting  and  posing,  and  an  experi- 
enced dry-plate  manipulator,  in  some  leading 
studio.  Is  also  a  fine  and  rapid  retoucher.  Can 
design  and  do  the  brush  work  of  composition 
pictures.  Fourteen  years  in  the  business;  ten 
years  a  practical  operator.  Address  "  Septi- 
mus," 299  Franklin  St.,  Buffalo,  N.  Y. 


PHOTOGRAPHIC    ENLARGEMENTS. 

PLATINOTYPES. 


Size 

of 

Print. 

8x  io 

IO  X   12 

14  x  17 

16  x  20 

18  X  22 

20  x  24 

22   X  27 

Mounted      On  Oil 
on  Canvas. 

Stretchers.      Mtd. 


1  00 
1  50. 
1  60 

1  75 

2  00 
2  50 
2  75 


1  25 

1  25 

1  5° 

2  00 
2  25 

2  50 

3  00 
3  5° 


$1   50 

2  60 

3  25 

3  75 

4  25 
4  75 
6  00 
6  25 


Size 

of 

Print. 

29  x  36 

30  x  40 
35  X45 
40  x  50 
45  x  60 
50  x  70 
52  x  80 


$  4  00 

5  00 

6  00 

8  25 

9  5° 
13  00 
18  00 


Stretchers. 

(See 

6  00 

7  5° 


13  00 

17  5o 

23  00 


On  Oil 

Canvas. 

Mtd. 

$7  So 
9  25 


BUCHANAN,  SMEDLEY  &  BROMLEY, 

No.  25  North  Seventh  St.,  Philadelphia. 

The  PHOTOGRAPHIC  COLORISTS'  GUIDE 

By  the  late  JOHN  L.  GIHON. 


PHOTOGRAPHIC  COLOBIJVG.—The  growing  demand  for  a  fresh  work  on 
Photographic  Coloring,  one  that  contains  full  instructions  on  all  the  new  and  improved 
methods — for,  like  Photography  itself,  Photo.  Coloring  has  improved  and  progressed — has 
led  to  the  publication  of  the  same. 

A  Tremendous  Demand  for  the  Book  continues.    Read  what  it  contains. 


Preface. 

Chap.  I.  On  India-ink  "Work. 

II.  The  Principles  to  be  Considered 
in  the  Application  of  Colors. 

III.  The  Materials  used  in  Finishing 

Photographs  with  "Water  Colors. 

IV.  'Water-color  Painting  as  Applied 

to  Photographs. 


Chap.  V.  Relative  to  the  Use  of  Paints  tha 
are  Mixed  with  Oil. 
VI.  Coloring  with  Pastels. 
VII.  The  Production  of  Ivorytypes. 
VIII.  The  Crystal  Ivorytype. 
IX.  Crayon  "Work. 

X.  Negative  Retouching. 
XI.  About  Matters  so  far  Forgotten. 
XII.  Rudimentary  Perspective. 


e  last  chapter  is  on  a  subject  entirely  new  and  fresh,  and  is  finely  illustrated. 


Mailed  on  receipt  of  price,  $1.50  per  copy. 
EDWARD  L.  WILSON,  Photo.  Publisher,  1125  Chestnut  Street,  Philada. 


350 


THE    PHILADELPHIA    PHOTOGRAPHER. 


Beck's  Autograph  Rectilinear  Lenses. 


These  extraordinary  lenses  at- 
tracted universal  attention  at  the 
late  Buffalo  Convention  ;  the  speci- 
mens of  work  in  Portraiture, 
Groups,  Landscapes,  Instantaneous 
Views,  etc.,  executed  by  them  b^ing 
of  unequalled  excellence.  A  life- 
sized  head,  made  with  the  8  x  10 
lens  of  13  inches  focus,  was  con- 
sidered by  the  experts  present,  as 
being  far  ahead  of  any  similar  per- 
formance ever  seen.  A  full  de- 
scription of  these  and  our  other 
specialties  will  be  found  in  our  full 
catalogue.     Mailed  Free. 


W.  H.  WALMSLEY  &  CO., 

Photographic  Stockdealers.  1016  Chestnut  St.,  Phila.,  Pa. 


FRENCH'S 


ORNAMENTAL 


Relief-Border  Flexible  Negatives. 


Three  New  and  Elegant  Designs 

for  the  HOLIDAY   SEASON  ofisss-e. 


Far  superior  to  negatives  on  glass.  Will  not  break,  are  flexible,  durable,  and 
permanent.  Print  quickly,  soft,  and  brilliant.  Each  negative  suitable  for  three 
sizes  of  pictures:  CABINET,  PROMENADE,  and  PANEL. 

All  three  negatives  in  one  clasp  envelope,  by  mail,  to  any  address  for  $2.25. 

They  will  not  be  sold  singly.     Nearly  all  dealers  in  photographic  materials  will  keep 

Patented      kotn  negatives  and  sample  prints  in  stock.     Sample  prints  furnished  free  on  appli- 
July,  1884.  ° 

Copyrighted    cation.     Send  to  your  dealer,  or  to 
Aug.,  1885. 

Inventor  and  Manufacturer, 

ONEONTA,  N.  T. 


Formerly  of  Garrettsville,  Ohio. 


THE   PHILADELPHIA  PHOTOGBAPHER 


351 


GAYTON  A.  DOUGLASS. 


HENRY  G.  THOMPSON. 


Douglass,  Thompson  &  Co. 

229  &  231  State  St,  Chicago,  111. 

MERCHANTS  IN  SUPPLIES  FOE  THE 

Art-Science  of  I3Xic>-t<3s:r£*,;E>:fci.y 

Photographers'  Booksellers,  Stationers,  and  Newsdealers. 


CARBUTT'S 

Keystone  Dry  Plates 

AND  PHOTOGRAPHIC  SPECIALTIES. 

Specials  for  Portraiture. 

A.  for  Transparencies. 

B.  for  Landscapes  and  General  Pho- 
tography. 


OPAL    PLATES,   6 elatino- Albumen  or  Gelatino- 
Chlorides,  for  Positives  and  Transparencies. 


Multum  in  Parvo  Dry-Plate  Lantern. 

Carbutt's  Pyro.  and  Potash  Developer,  Concentrated, 
Two  8oz.  bottles  75  cents. 

Kuby  Paper  and  Negative  Varnish. 


FOE  SALE  BY  ALL  DEALERS. 


JOHN  CARBUTT,  Keystone  Dry-Plate  Works, 

Wayne  Junction,  Philadelphia,  Pa. 

HODGE   &  HUSTON, 

THE    SOLAR   PRINTERS, 

-     622  ARCH  STREET,  PHILADELPHIA. 
PERMANENT  PRINTS  BY  THE  PLATINUM  PROCESS. 
ELECTRIC  LIGHT. 


352  THE    PHILADELPHIA    PHOTOGRAPHER. 


PASSAVANT'S  DRY  PLATES 

ARE  CONCEDED  B¥  THE  LEADING  PHOTOGRAPHERS 
OF  THE  PACIFIC  COAST  TO  BE 

THE  BEST  AND  MOST  RELIABLE  IN  THE  MARKET. 


CIP, 
EL 


Specially  for  Portraiture  and  Instantaneous  Views, 
requiring  one-half  the  time  of  other  Dry  Plates, 
"working  with  great  softness  and  delicacy. 

For  ordinary  Studio  Work  and  Landscape. 


^* PRICE 

LIST. s^ 

Per  Doz. 

Per  Doz. 

Per  Doz. 

3X  x  4X,      • 

.     .  $0  60 

5x8,. 

.      .    $1    75 

11  x  14,      . 

.     .     $6  50 

4x5,. 

.     .          90 

6^x8^,      . 

.     .     2  30 

14x17,      . 

.     .     12  00 

4^x6^,      . 

.     .     1   20 

8      x  10,        . 

.     .     3  40 

17x20, 

.     .    20  00 

5x7, 

.     .     1   75 

10  x  12, 

.     .     5  00 

18  x  22,      . 

.     .     24  00 

Numerous  testimonials  from  all  parts  of  the  States  at  hand.     Try  them. 

Passavanf s  Photographic  Dry  Plate  Factory, 

306  GUERRERO  STREET,  SAN  FRANCISCO,  CAL 

OSCAR    FOSS,    SOLE    AGENT    FOR    THE    PACIFIC    COAST. 

OUR  SPECIALTIES. 


BROMIDE  AMMONIUM,  Chem.  Pure. 

BROMIDE  POTASS.,  Chem.  Pure. 

NITRATE  SILVER,  Chem.  Pure. 

FOR  DRY  PLATES. 

CROSS-SWORD    DRESDEN    ALBUMEN    PAPER, 
Single  and  Extra  Brilliant.    The  Best  in  the  Market. 

ALSO  A  GENEBAL  LINE  OF 

PHOTOGRAPHIC   CHEMICALS. 

A  circular,  "How  to  Save  Waste,"  sent  on  application. 

OHAS.  COOPER  &  CO. 

194  Worth  St.,  New  York 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


353 


720  {5  gross)  of  these  trimmers  were  sold  to  one  party  in  July. 


ROBINSON'S 
NEW  MODEL 


PHOTOGRAPH  TRIMMERS ! 


Pi  .2 


io 


These  invaluable  instruments  are  already  used  all  over  the  country,  and 
now,  a  change  of  form  having  permitted  an  immense  reduction  in  price, 
they  must  soon  be  UNIVERSALLY  USED  as  they  afford  a  quicker, 
better,  and  less  expensive  means  of  trimming  photographs  than  any  other. 
The  inventor  assures  photographers  that  his  trimmers  can  be  used  with 
greater  ease  when  held  as  indicated  in  the  drawings  below.  These  trim- 
mers are  now  made  entirely  of  metal,  and  in  quality  are  fully  equal  to  those 
of  the  old  model.  They  answer  for  oval,  round,  arch  top,  and  square 
work. 


Flan  of  holding   the  Straight    Cut  Trimmer 
when  in  use.    PRICE,  50   CENTS. 


Plan  of  holding  the  Revolving  Trimmer  when  in 
use.     PRICE  (with  one  card  guide)  $1.00. 


obi  :Nrso:rcrs    guides. 

MADE  OF   SHEET-IRON. 
We  have  the  following  Regular  Sizes  always  on  hand  at  io  cents  per  inch  the  longest  way  of 
the  aperture. 

SQUARE  OR  ROUND  CORNERED. 

2^x31  2T\x3|  2§x4J  4x5f 


2x2| 
2^x3^ 
2ix3i 
2|x3f 
2fx3| 
2|x4£ 


OVALS. 


3fx4f 
3fx4| 

3fx5£ 

4x5f 

44x64 


5x7 

5^x7£ 
5£x7£ 
5fx7f 
5|x7f 
6x8 


6!x8i- 
6£x8£ 

7x9 
7£x9! 
7£x9| 
7|x9| 


Ttf - 


2|x3| 

2|x3| 

2Ax3« 


2Ax3£ 
2|x4i 


2Jx4| 
3|x5i 


„x5i 
3£x6 

4x6£ 
FOR  STEREOGRAPHS. 

Arch  Tops.  Round  Cornered.  Round. 

3x3 


3T^x3|,  3x3  3T^x3|,  3x3 


The  above  sizes  suit  the  Collins  Card  Mounts,  and  photographers  knowing  that  they  can  be 
always  had  at  the  low  price  of  ten  cents  per  inch,  would  do  well  to  make  their  sizes  accord,  as 
orders  can  also  be  filled  more  quickly.     Ten  days  are  required  to  make  special  sizes. 

Special  Sizes  made  to  order,  at  15  cents  per  inch,  the  longest  way  of  the  aperture. 

ROBINSON'S  PHOTOGRAPH  TRIMMERS  are  substitutes  for  the  Knife  for  Trimming 

Photographs,  and  do  the  work  much  more  expeditiously  and  elegantly. 

They  Save  Time,  Save  Prints,  and  Save  Money. 

They  do  not  cut,  but  pinch  off  the  waste  paper,  and  leave  the  print  with  a  neatly  beveled  edge 
which  facilitates  adherence  to  the  mount.  Try  one,  and  you  will  discard  the  knife  and  punch  at 
once.     For  ovals  and  rounded  corners  they  are  worth  their  weight  in  gold. 

aFu  DelierJ  EDWARD  L.  WILSON,  Manufacturer's  Agent,  1125  Chestnut  St.,  Philada. 

4 


354 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


ht 


THE3    3VLOTJKT13    OITY 


?? 


Photographic  Stock  House 

-*«b ,»■■••:•  Offers  the  Most  Complete  line  of 

Photographic    Apparatus,    Chemicals, 

Picture  Frames.  Mouldings,  Mats, 

Albums,   Etc.,  in   the    market, 

at  bottom  prices. 

Professional  ani  Amateur  Outfits  a  Specialty. 

AGENT  FOR 

KUHN'S  LIGHTNING  DRY-PLATE  INTENSIFIES, 

AND 

KUHN'S  SENSITIZED  PAPER  STRETCHER  AND  DRYER. 

Address 

H.  A.  HYATT, 

8th  &  Locust  Sts., 

ST.  LOUIS,  MO. 

Send  for  Illustrated  Catalogues  of  Photographic  Goods  and  Picture  Frames. 

ALBERT  MOORE  ™  SOLAR  ENLARGER, 

THE  LONGEST,  LARGEST,  AND  BEST. 

828  "Wood  Street,  Philadelphia. 

PHOTOGRAPHIST  MITTHEILUNGEN. 


We  are  now  prepared  to  receive  subscriptions  for  Dr.  Hermann  W.  Vogel's  magazine  bearing 
the  above  title. 

The  MITTHEILUNGEN  is  published  in  German  and  is  issued  semi-monthly  at  $3.00  per  year, 
postage  paid.  To  all  of  our  German  photographers  and  many  others  this  will  be  considered  a 
desirable  opportunity. 

The    Magazine  is  published  at  Berlin.     Subscriptions  received  by 

EDWARD    L.   WILSON, 

/ 

1125  Chestnut  Street,  Philadelphia,  Fa. 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


355 


WILSON'S  PHOTOGRAPHIC 


<•{> o£= If- 


^(^m 


i. — .,§>. — .i- 


-**?!  ¥P7ffigE  @N  EYERY  BOTCfl  0E  Pp@¥@6^Pp¥.^ 


THE  PHILADELPHIA  PHOTOGRAPHER. 

A  monthly  Magazine,  illustrated  by  photographs  of   superior  merit. 
$5.00  a  year;  $2.50  for  six  months. 

Stands  ahead  of  all  its  kindred.     Twenty-one  years  of  success  is  a  sufficient 
guarantee  of  its  value  and  use  to  the  practical,  working,  growing  photographer. 
Do  not  go  without  its  valuable  help. 

WILSON'S  LANTERN  JOURNEYS. 

By  Edward  L.  Wilson.     In  Three  Vols. 
Price,  $2.00  per  vol. 

For  the  lantern  exhibitor.     Gives  incidents  and  facts 
in  entertaining  style  of  about  2000  places  and  things, 
including  200  of  the  Centennial  Exhibition. 

WILSON'S  PHOTOGRAPHICS' 

THE   NEWEST  AND    MOST   COMPLETE 

PHOTOGRAPHIC   LESSON-BOOK. 

Covers  Every  Department. 

352  Pages.    Finely  Illustrated.    Only  $4.00. 

By  Edward  L.  Wilson. 

THE  FERROTTPER'S  GUIDE. 

Price,  75  cents. 

Cheap  and  complete.     For  the  Ferrotyper,  this  is  the 
only  standard  work.     Seventh  thousand. 

THE  PROGRESS  OF  PHOTOGRAPHY 

SINCE   1879. 
By  Dr.  H.  Vogbl.     Price,  $3.00. 

Issued  July  15th,  1883.     A  splendid  work. 

STUDIES  IN  ARTISTIC  PRINTING. 

By  0.  W.  Heakn.     Price,  $3.50. 

Embellished  with  six  fine  cabinet  and  promenade 
portrait  studies. 

PICTORIAL  EFFECT  IN  PHOTOGRAPHY. 

By  H.  P.  Robinson.     For  the  Art  Photog- 
rapher.   Cloth,  $1.50.    Paper  cover,  $1.00. 

THE 
PHOTOGRAPHIC  COLORISTS'  GUIDE. 

By  John  L.  Gihon.     Cloth  bound,  $1.50. 

The  newest  and  best  work  on  painting  photographs. 

PHOTOGRAPHIC  MOSAICS,  1885. 

Cloth  hound,  $1.00 ;  paper  cover,  50  cents. 
Back  volumess.  same  price. 
Better  than  any  of  its  predecessors. 

COPIES  MAILED  POST-PAID  ON  RECEIPT  OF  PRICE. 

EDWARD  L.  WILSON, 


Photo.  Publisher. 


1125  Chestnut  St.,  Phila. 


856  THE    PHILADELPHIA    PHOTOGEAPHEE. 


m 


OHMpC 


THIS  FAVORITE  ANNUAL  NOW  READY. 


144  PAGES.— 50  CENTS;   CLOTH  COVER,  $1.00—144  PAGES. 


FEW  COPIES  LEFT. 


ORDER  SOON 


TO 


SECURE  THEM. 


THE  PHILADELPHIA  PHOTOGRAPHER 


357 


SOOVILL'S 

NEGATIVE  WASHING  BOXES. 


GUARANTEED  NOT  TO  RUST. 

It  is  necessary  at  a  certain  stage  of  development  to  remove  from  photographic  nega- 
tives all  traces  of  Hyposulphite  of  Soda,  and  it  is  not  generally  convenient  to  place  them 
where  water  will  flow  over  their  surface  a  sufficient  length  of  time  to  accomplish  this  effec- 
tually, without  injury  to  the  sensitive  film.  To  watch  the  plate  is  to  waste  time.  The 
flow  over  it  should  be  with  gentle  force. .  This  can  best  be  regulated,  and  a  thorough 
cleansing  from  Hyposulphite  of  Soda  of  every  portion  of  the  negative  be  assured,  by  the 
employment  of  one  of  the  Negative  Washing  Boxes  above  pictured.  Plates  are  simply 
slid  into  the  grooves,  a  guarantee  that  the  film  will  not  be  disturbed  or  marred ;  a  bit  of 
hose  is  slipped  over  a  tap,  and  then  at  the  other  end  over  the  spout  on  the  box.  If  need 
be,  another  section  of  rubber  tubing  is  used  to  carry  off  the  waste  water  to  an  outlet. 
After  this  simple  preparation  the  Washing  Box  is  in  readiness  for  service. 


■PT^Tr^TT1     T    T  Of 

<^s           Jr±l»10Jli    Lib  1 

~e5^ 

No.  1, 

for  3£   x    4J  Plates,  . 

.    $1   20 

"   2, 

"4x5          " 

1  25 

"   3, 

"    4i  x    5J        " 

1  30 

"  4, 

"    4}   x    6}        " 

• 

1  35 

"  5, 

"5x7           " 

1  40 

"  6, 

"5x8          "         . 

1  50 

"  7, 

"    6£   x    8£ 

1  75 

"  8, 

"    8     xlO 

2  25 

LARGER  SIZES  MADE  TO  ORDER. 
Painted  Negative  Washing  Boxes,  4=  O  cts.  additional  for  each  size. 

Gloth  Rubber  Hose  Supplied  for  the  above  Boxes  at  28  cts.  Per  Foot, 
SCOVILL  MANUFACTURING  CO. 


358  THE    PHILADELPHIA    PHOTOGRAPHER. 


The  Photo-Gravure  Company, 

OFFICE 

853   BROADWAY,   NEW   YORK. 

(The    "  Domestic  "    Building,  \ 
Broadway  and   14th   Street.    / 


PRESIDENT,  ERNEST  EDWARDS,  —  late, of  the  Heliotype  Printing 
Company,  of  Boston,  a"nd  Inventor  of  the  Heliotype  Process. 

VICE-PRESIDENT  AND  TREASURER,  WALTER  B.  MOORE, 
—  Editor,  "  The  Public  Service  of  the  State  of  New  York." 

SECRETARY,  W.  I.  SCANDLIN,  —  late  Manager  New  York  Office, 
Heliotype  Printing  Co. 


THE  PHOTO  GRAVURE  COMPANY,  with  an  office 
fully  equipped  for  PHOTO-MECHANICAL  PRINTING 
AND  PUBLISHING,  are  now  producing  results  unsurpassed 
by  any,  Plain  and  in  Color.  Their  specialties  are  ART  and 
SCIENTIFIC  work  and  ART  CATALOGUES,  produced  by 
the  following  processes : 

PHOTO-GRAVURE,  —  The   process   of    Mr.     Ignatz 

Oesterreicher. 
GELATINE     PRINTING,  —  Heliotype,     Autoglyph, 

Indo-Tint. 
PHOTO-LITHOGRAPHY,  —  Osborne's   process. 
PHOTO-LITHOGRAPHY     IN      HALF      TONE, — 

Mr.    Edwards'    process,    oased   on    Meisenbach's 

method. 

PHOTO-ENGRAVING,  —  Swelled   gelatine   process. 
PHOTO-ENGRAVING    IN     HALF     TONE,  —  Mei- 
senbach's process  as  worked  by  Mr.  Edwards. 


ESTIMATES  GIVEN  ON  APPLICATION. 


THE  PHILADELPHIA  PHOTOGEAPHBE. 


359 


Q-.   GrlBl  1ST KTE3R.T, 

No.  54  East  Tenth  Street,  New  York. 


SOLE  IMPORTER  OP 


C.  BOHIKE  &  CO.'S  IMPROVED  APLANATS. 

!KHE  BEST  ZENSES  FOB  POBTBAIT,  BAPID  ZAXOSCAPES 
ANV  GBOUPS  YET  ZNTBODTTCED. 


Mr.  Bohmke,  who  has  been  superintending  foreman  for  Voigtlander  &  Son  for  25 
years,  has  lately  brought  out  the  above  designated  instrument,  which  is  in  every 
respect  equal,  if  not  superior,  to  the  "Euryscope,"  combining  a  large  field,  perfect 
definition  and  brilliant  illumination  in  the  highest  possible  degree. 

jjS^ES  T.  MAGEE  &  0q 


MANUFACTURERS  OF  PURE 


Photographic  Chemicals, 

JIo.  622  Jlace  Street,  Philadelphia. 


The  Standard  Quality  and  Purity  of  our  Chemicals  make  them  the  most 
desirable  and  reliable  for  photographic  use. 


«#=e+  STOOKDEALERS  ONLY  SUPPLIED.-H==2e 


FPFOTFS  of  GOJJ)  and  SIJ-YfiJl  WASTE- 

Waste  sent  through  Stockdealers  will  receive  prompt  attention, 


360  THE    PHILADELPHIA    PHOTOGEAPHEE. 


A    GREAT  SUCCESS! 


THE 

NEW  DRESDEN  ALBUMEN 


THREE  CROWN  PAPER 


^JadeMa^ 


^SdeMj^ 


^SdeM^ 


For  Sale  by  all  Photo.  Stockdealers. 


SCOVILL  MANUFACTURING  CO., 

NEW  YORK. 


THE    PHILADELPHIA    PHOTOGRAPHER. 


361 


On  and  after  March  1st,  I  will  make  the  following  Reduction : 

4  x5 

4X*5X 

5  x7 


.        $     45 

5x8 

.       $1  25 

14x17 

.       #9  00 

65 

6^x8^       • 

1  65 

16  x  20 

.      12  50 

75 

8      x  lO 

2  40 

17x20 

13  OO 

90 

10  x  12 

3  80 

18x22 

.      15  50 

1   10 

11   x  14 

5  OO 

20  x  24 

.      18  50 

CRAMER'S  LIGHTNING  PLATES. 


TO  MEET  TJ^E  DEMAND  FOB 

An  Extremely  Rapid  Plate 

I  am  now  making  the  above  new  brand  (blue  label),  which  is  about  twice  as  rapid 
as  my  "Extra  Rapid"  and  nearly 

TWENTY  TIMES  MORE  RAPID  THAN  COLLODION. 


THIS  NEW  PLATE  COMBINES 

EXTREME  RAPIDITY, 

FINE  CHEMICAL  EFFECT, 

PERFECT  CLEARNESS, 

GOOD  INTENSITY, 

EASY  TO  DEVELOP, 

And    CANNOT    BE    EXCELLED. 


For  all  cases  where  Extraordinary  Rapidity  is  desirable  and  for  Large 
Work  these  "Lightning  Plates"  will,  upon  trial,  prove  their  superiority  over 
all  others. 

My  regular  brand,  the  "Extra  Rapid"  (yellow  label),  which  is  so  well 
known  and  sufficiently  sensitive  for  general  use,  will  be  kept  up  to  its  usual  high 
standard. 

BOTH  BRANDS  SAME  PRICE. 

WILL    BE    FOR    SALE    BY    ALL    DEALERS. 


DRY-PLATE  WORKS,  ST.  LOUIS,  MO. 


3fi2  THE    PHILADELPHIA    PHOTOGEAPHEE. 


GIHON'S 

CUT-OUTS 

An  Entirely  New  Variety  for 

Printing  Iedallion  Pictures. 


Are  the  very  best  that  are  made,  and  are  now  without  a  rival  in  the  market.  They  are  clean 
out,  most  desirable  shapes  and  sizes,  and  made  of  non-actinic  paper,  manufactured  specially  for  the 
purpose.  Each  package  contains  30  Cut-Outs,  or  Masks,  with  corresponding  Insides,  assorted  for 
five  differently  sized  ovals  and  one  arch-top. 

Price,  $1.00  per  Package.    Sent  by  mail  on  receipt  of  price. 

Parties  wishing  special  sizes,  or  large  lots  of  a  few  sizes,  may  have  them  cut  to  order  promptly, 
by  addressing  the  manufacturer.      No  lot  costing  less  than  $1.00  made  at  a  time. 
^^*"No  printer  should  attempt  to  make  Medallion  Pictures  without  them. 

They  Have  no  Equal  for  Quality. 

Beware  of  spurious  imitations  made  of  common  paper,  full  of  holes,  badly  cut,  and  odd  shapes  and 
sizes.  Ask  your  Stock-dealer  for  GIHON'S  CUT-OUTS,  and  see  that  they  are  in  his  envelope,  with 
instruction  circular  included.  The  recent  packages  are  composed  of  an  entirely  new  variety  and  ot  a 
new  paper.     TRY  THEM. 

Promenade  Size  now  Eeady.        Sold  Separately  at  50  cents  per  Dozen, 


GIHON'S  OPAQUE 

Is  designed  for  Completely  obscuring  the  Imperf.ct  Backgrounds  of  Copies,  Retouching  Nega- 
tives, Faulty  Skies  in  Landscapes,  Coating  the  Inside  of  Lenses  or  Camera  Boxes, 
Backing  Solar  Negatives,  Covering  Vignetting  Boards, 
And  for  Answering  all  the  Requirements  of  the  Intelligent  Photographer  in  the  Production 

of  Artistio  Results  in  Printing. 

Wherever  you  want  to  keep  out  Light,  use  Opaque. 

IT  IS  APPLIED  WITH  A  BRUSH,  DRIES  Q,UICKLY  AND  STICKS. 


CUT-OUTS  (thirty),  $1.00.         OPAQUE,  50  Cents. 

FOR  SALE  BY  ALL  DEALERS. 


Address  all  orders  to 


SCOVILL  MANUFACTURING  CO.,  New  York. 


THE    PHILADELPHIA    PHOTOGKAPHEK.  363 


BEST 


^    UKtSD^ 


EXTRA  §«W|  BRILLIANT 


Ever  Offered  to  Photographers. 

WHITE,  PINK,  PENSE. 


FREE  FROM  BLISTERS  AND  IMPERFECTIONS. 


A  NEW  PAPER.    NOW  EEADY. 

EAGLE  SATIN  FINISH, 

IN  PENSE  AND  PEARL. 

Although  my  importations  of  paper  have  had  a  most  satisfactory  sale,  and  the  old  favorite 
brands  will  be  continued  in  the  market  of  the  same  quality,  I  have  a  New  Brand,  which  I  offer 
for  public  favor  which  I  believe  to  be  SOMETHING-  SUPERIOR. 

^$36.00  A  REAM.^a       ^A  REAM  $36.00.°®® 

FOR  SALE  BY  ALL  DEALERS. 

IMPORTED  BY 

G.  GENNERT, 

54  B.  TENTH  ST.,  NEW  YORK. 


FOR   SALE   BY    ALL   DEALERS. 


364  THE    PHILADELPHIA    PHOTOGEAPHEE. 

A.  M.  Collins,  Son  &  Co. 

MANUFACTURE  ALL    KINDS   OF 

CARDS  AND   CARDBOARDS 

FOE 

Photographer 


AND 


MATS.  MOUNTS.  AND  ENVELOPES 


J 

FOE 


FERROTYPES. 


OFFICE  AND  WAREHOUSE, 

No.  527  ARCH  STREET, 

PHILADELPHIA. 


Price  Lists  may  be  had  by  intending  purchasers  on  application 

to  us,  or  to  all  Photographic  Merchants,  through  whom 

your  favors  are  respectfully  solicited. 


THE    PHILADELPHIA    PHOTOGEAPHEK. 


365 


I1 


"I"  H  3E3  3VE  ! 


WAYMOUTH'S  VIGNETTE  PAPERS. 


No.  lb'A, 

THE 

Ormsfty  Patten, 

PEAR  SHAPE 

No -mt  Ready, 

$1.00  PER  DOZ. 


They  are  not  clumsy ;  do  not 
break;  are  always  ready ;  cost 
but  little,  and  are  easy  of  appli- 
cation to  any  negative.  They 
needbut  one  adjustment  to  print 
any  quantity.  They  entirely 
do  away  with  all  the  old  and 
troublesome  methods,  either 
wood,  metal,  or  cotton. 


19  Sizes 

ARE 

Now  Made 

PEAR  SHAPE. 

Prices  Below. 

SEE  TESTIMONIALS. 


They  are  printed  in  black 
for  ordinary  negatives,  yellow 
bronze  for  thin  negatives,  and 
red  bronze  for  still  weaker  ones. 
Directions  for  use  accompany 
each  parcel. 


SEE  WHAT  THOSE  WHO  USE  THEM  SAY. 

The  Vignette  Papers  are  just  the  thing.  They  are  a  great  improvement,  and  will  print 
in  little  more  than  half  the  time  required  for  others.  The  results  are  everything  that  can 
be  desired,  as  you  can  see  by  samples  inclosed.  B.  D.  OEMSBT,  San  Francisco. 

FROM  PROFESSIONAL  AND  AMATEUR  PHOTOGRAPHERS. 

"  First-class." — "  The  sample  sent  answers  perfectly." — "  I  consider  them  first-rate  articles." — "  They  answer  the 
purpose  admirably.'' — "  They  are  the  best  vignettes  I  have  ever  had,  and  as  you  can  print  in  full  sunlight,  they  are  a 
great  saving  of  time." — "  They  could  not  be  better,  oblige  me  with  another  packet." — "  I  find  them  excellent,  giving 
much  softer  pictures  than  the  old  way." — "I  have  tried  one  of  the  Vignette  Papers,  and  like  it  much;  send  me 
packets  two  and  three." — "  I  am 'much  pleased  with  them,  and  shall  thank  you  to  send  meanotner  packet." — "I  did 
not  need  any  copies  of  testimonials,  having  well  known  by  experience  that  your  Vignette  Papers  were  superior  to 
anything  I  have  ever  used."—"  I  found  those  you  sent  before  excellent." — "  Vignetting  Papers  received  and  tested; 
can't  be  beat._  I  use  by  cutting  an  opening  in  a  piece  of  card-board  and  tacking  to  the  printing-frame,  when  I  am  ready 
for  printing  vignettes  in  the  very  best  manner." — "  Waymouth  Vignette  Papers  I  have  tried,  and  they  are  just  what  I 
have  been  wanting  for  years." 

THOSE  WHO  SELL  THEM! 


ALL  STOCK-DEALERS 


INCREASE 
THEIR 


ORDERS  LARGELY 


EVERY 
MONTH 


Better  than  any  patent  machine  -trouble,  and  sell  better  every  month. 

PRICES: 

In  parcels  containing  one  dozen,  assorted,  from  Nos.  1  to  5 $0  50 

In  parcels  containing  one  of  each  size,  Nos.  1  to  15,  assorted  colors 1  00 

Assorted  sizes  and  colors,  by  number,  per  package  of  15 1  00 

Nos.  1,  2,  3,  4,  and  5,  assorted  sizes  and  colors,  for  Cartes,  by  number,  per  doz 50 

*     °>  J:>  11>  12,  ar>d  13,     »          »                  »       Large  Cartes  and  Victorias  by  number,  per  doz 75 

»     8,  9,  10,  14,  15,  and  15}^,  assorted  sizes  and  colors,  Cabinets  and  Whole-size,  by  number,  per  doz 1  00 

»     16,17,18,                                „                 »             ,     'Half           ».               »'*».■»       125 

when  ordering,  state  the  number  and  color  you  want. 

EDWARD  L.  WILSON,  Manufacturer,  1125  Chestnut  St.,  Philad'a. 

FOR  SALE  BY  ALL  DEALERS. 

No.  18,  PEAR  SHAPE,  LAST  INTRODUCED,  $1.25. 


366 


THE    PHILADELPHIA     PHOTOUKAPHEK 


JOHN  G.  HOOD. 


ESTABLISHED    1865. 


WM.  D.  H.  WILSON. 


ON.    HOOD   % 

^J  V  ^  825  Arch  Street,  v>  Q 

PHILADELPHIA, 

SOLE  AGENTS  IN  THE  UNITED  STATES  FOR  THE 


Centennial,  1876 


Centennial,  1376, 


Ross'  Portrait  and  View  Lenses, 


WE  HAVE 

NOW 
IN  STOCK 


Portrait  Lenses,  from  1-4:  to  8  x  10. 
Cabinet  Lenses,  Nos.  2  and  3. 
Card  Lenses,  Nos.  1,  2,  and  3. 
Triplets,  Nos.  1,  3,  3,  4r,  5,  6,  and  7. 
[  Symmetrical^.    Rapid  Symmetricals. 


Instantaneous  Doublets,  all  sizes. 
Medium  Angle  Doublets,  all  sizes. 
Large  Angle  Doublets,  all  sizes. 
Stereograpbic  Lenses,  all  sizes. 
New  Universal  Lens. 


Numerous  testimonials  pronounce  them  to  be  the  best  as  well  as  the  cheapest  Foreign  Lenses  ever 
offered  to  the  American  Photographer.    We  will  mail  price  list  on  application,  and  promptly  fill  all  orders. 


Steinheil's  Sons' 


—NEW~- 
APLANATIO 


Lenses. 


We  now  have  a  full  stock  of  these  Celebrated  Lenses,  at  the  following  pries  : 

No.  1—  1-4  size, 3%  inch  focus, $25  00    [    No.  4—  8x10  size,...10i<  incb  focus,. ..$60  00 

»    3—  1-2      »       5%;        »  »        30  00  »    5—10x13      »       ...13  j£       »  »     70  00 

»    3—4-4      »       7  »  »        45  00    |        »    6—13x16      »      ...16#       »  »     ....110  00 

Nos.  1  and  2  are  in  matched  pairs  for  stereoscopic  work. 

We  feel  sure  that  at  least  one  of  these  lenses  is  needful  for  the  successful  prosecution  of  your  busi- 
ness, and  so  solicit  your  orders.  Always  in  stock,  to  suit  above  Lenses,  CAMERA  BOXES  made  by 
AMERICAN  OPTICAL  CO.,  SEMMENDINGER,  ANTHONY,  BLAIR,  etc. 

"WE  KEEP  IN  STOCK  PULL  ASSORTMENT  OE 

AMATEUR  PHOTO.  OUTFITS 

DRY    PLATES    OF   ALL    MAKES. 

N.  P.  A.  EAGLE  and  S.  &  M.  PAPER,  PER  REAM,  $32.00. 

Any  article  needed  we  can  supply,  as 
"WE  MANUFACTURE,  IMPORT,  AND  DEAL  IN  ALL  KINDS  OF 

Photo.  Goods,  Frames,  Stereoscopes  and  Views, 

At  prices  as  low  as  are  consistent  with  the  quality  of  goods  furnished.  We  are  indebted  to  our 
customers  for  the  patronage  during  the  past  Nineteen  Years,  and  our  efforts  shall  be  to  merit  a  con- 
tinuance of  it. 

Illustrated  Price  Lists  supplied  free.    Correspondence  solicited. 


THE    PHILADELPHIA    PHOTOGBAPHEK. 


367 


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Mr.  Edward  L.  Wilson.  New  York,  August  8,  1885. 

Please  send  us  25  copies  of  Wilson's  Photographics. — Scoyill  Mfg.  Co.,  W.  I.  Adams,  Agent. 

Mr.  Edward  L.  Wilson.  .  New  York,  August  9,  1885. 

Please  send  us  same  number  as  last  lot. — E.  &  H.  T.  Anthony  &  Co 

A  PARTIAL  PHOTOGRAPHIC  ENCYCLOPEDIA. 

By  Edward  L.  Wilson,  Editor  "  Phila.  Photographer,"  "  Photo.  Mosaics,"  etc. 

A  STANDARD  BOOK  FOR  ALL  WORKERS  IN  PHOTOGRAPHY. 


CONTENTS. 

Lesson  A.  Treatment  op  the  Subject — B.  The  Needful  Apparatus — C.  The  Objective  or  Lens — D.  The 
Dark-Room — 15.  Preparation  op  the  Glass — F.  Chemicals  and  Solutions — G.  The  Manipulations — H.  Manipu- 
latory Miseries — I.  Retouching  the  Negative — J.  The  Glass  Studio — K,  Accessories  and  Light — L.  Manag- 
ing the  Model— M.  Printing  on  Albumen  Paper — N.  Printing  on  Plain  Paper — 0.  General  Remarks  on 
Printing — P.  Printing  on  Various  Surfaces — Q.  Printing  Perplexities — R.  Art  in  Printing — S.  Mounting 
and  Finishing — T.  Photography  Outside — U.  Bromo-Gblatine  Emulsion  Work — V.  Vogel's  Collodion  Emul- 
sion— W.  Enlargements  and  Lantern  Slides — X.  Phototypes,  Platinotypes,  and  Collodion  Transfers — Y. 
Wastes  and  Their  Worth — Z.   Metrical  Measuring — &.  Concluding  Confab — Index  (Six  Pages.) 

It  is  believed  that  this  is  the  most  valuable  work  ever  offered  to  the  working  photographer  Its  sale 
was  never  equaled.  It  contains  352  pages ;  7  x  8f  inch  cover,  and  is  1J  inches  thick.  More  than  100 
illustrations.     It  gives  full  details  of  all  practical 

PROCESSES,  OLD  AND  NEW,  PUBLIC  AND  SECRET. 

Among  the  latter  are  the  "Phototype,"  sometimes  called  the  "  Artotype  "  process,  with  examples; 
many  of  the  "  Lightning  "  processes  ;  the  "  Platinotype  "  process  ;  the  "  Collodion  Transfer  "  or  "  Mega- 
type  "  process,  and  many  others. 

58  pages  are  devoted  to  Posing  and  Lighting  ;  37  pages  give  instructions  in  Emulsion  "  Dry  "  Work  ; 
29  pages  show  how  to  Build  and  Use  Skylights  ;  108  pages  furnish  instructions  for  Manipulating  Nega- 
tives;  37  pages  are  applied  to  Printing  Formula  and  Dodges;  175  pages  gives  Notes  from  Authors  all 
over  the  world.     It  is  printed  on  fine  white  paper,  made  especially  for  it,  and  sold  at  the  low  price  of 

$4.00  POST-PAID  $4.00. 

_  For  the  beginner,  for  the  amateur,  for  the  photographic  worker,  it  is  believed  to  be  most  complete.     No 
live  photographer  should  fail  to  get  it  soon,  before  his  neighbor  is  ahead.1   For  sale  by  all  dealers,    (oyer.) 


PARTIAL  INDEX. 


This  is  added  in  order  to  give  the  buyer  a  good  idea  of  what  he  may  get  for  his  money.  It  will  be  seen, 
also,  that  Photographies  is  not  a  book  for  a  single  reading  only,  but  a  thorough  encyclopedia  of  practical  pho- 
tographic information  that  will  serve  for  all  time.  There  is  scarcely  a  thing  you  are  likely  to  want  in  your 
practice  that  you  may  not  find  in  its  pages.  There  is  only  room  here  for  a  partial  index.  The  whole  covers 
six  pages  of  Photographies. 


Accessories  and  Light. 
Acidifying  the  Prints. 
Aerial  Perspective. 
Albumen  for  Phototypes,   Fil- 
tering the. 

Loss  of,  from  the  Paper. 

Paper,  Defects  and  Dryness  of 

Substratum  for  Glass. 
Alkaline  Sulphides,  Test  for. 
Alum,  Treatment  of  the  Prints 

with. 
Angle  of  View  possible  with  a 

Lens. 
Angular  Composition. 
Aniline  Blue  for  Pure  Whites 

in  Prints. 
Apparatus,  Dry-Plate  for  Land- 
scapes. 
Arrangement  of  Drapery,  Raph- 
ael's. 
Art  among  Photographers. 

and  Art  Rules. 

Principles  applied  to  Photog. 
Artificial  Light  for  Solar  Print- 
"Artotypes."  [ing- 

Atmospheric  Effect. 
Backgrounds. 

Frames  for. 

How  to  Make  and  Paint. 
Bath,  Boiling  down  the. 

Decolorizing  the  Printing. 

Fusing  the. 

Rectifying  the. 

Removing  Albumen  from  the. 

Testing  the  Strength  of  the. 

The  Fixing. 

The  Nitrate. 

Troubles. 
Black  and  White  Negatives. 
Blistering  of  Prints. 
Blueness  of  the  Film. 
Bold  Prints  from  Flat  Negatives 
Breadth  of  Effect. 
Brilliancy  in  a  Photograph. 
Bromo-Gelatin  Emulsion  Work. 

Alkaline  Developer  for. 

Calculations,  Table  for. 

Carbutt's  Cruet  for. 

Chemicals  for. 

Development  of. 

Drying  the  Plates. 

Exposure  of. 

Fogging  of. 

Frilling  of. 

Intensifying. 

Printing. 

Rapidity  of. 

Reducing. 

Retouching  and  Varnishing. 

Spreading  the  Gelatin. 

Strengthening. 

Washing. 
Burnishing  the  Prints. 
Camera,  Care  of  the. 

How  to  tell  a  good. 


Contrasts,  Violent. 
Correctness  and  Comparison. 
Curtains  for  the  Studio. 
Dark-Room,  The. 
Dark-Tent,  The. 
Defective  Toning  of  Prints. 
Defects  and  Dryness  of  Albu- 
men Paper. 
Dense  Negatives,  Printing. 
Developer,  The  Iron. 

The  Iron  and  Ammonia. 
Development,  The. 

Best  Rule  for  the. 
Diaphragm. 

Use  of  the.  [Printing. 

"Doctoring"      Negatives     for 
Drapery,    Raphael's    arrange- 
ment of. 


Drying-Box 
Plates. 

for 

Phototype 

Cupboard 

for 

Emulsion 

Plates. 

Cupboard 

for 

[Plates. 
Phototype 

Card-Board,  Cockling  of  the. 

Cheapness. 

Chemicals  and  Solutions,  The. 

Chemistry  of  Out-Door  Formulae. 

Chiaro-Oscuro,  or  Light  and  Shade. 

Chloride  of  Gold,  Saving. 

of  Silver,  into  a  Metallic  State. 
Clouds  and  Sky,  The. 

in  Out- Door  Views. 

Printing  in. 
Collodion  Bromized. 

Changes.  / 

Double  Iodized. 

for  Hot  Weather. 

for  Interiors. 

Intense. 

Out-Door,  Water  In. 

Troubles. 
Collodion  Transfers. 

Coloring. 

Gelatin  Paper  for. 

Iodizers  for. 

Printing. 
Collodionizing  the  Plate. 
Color,  Good,  Printing  for  Negatives. 
Composition,  Angular. 

Circular. 

Pyramidal. 
Concluding  Confab. 
Contraction     and     Expansion     of 
Paper. 


Oven  for  Phototype  Plates. 
Room,  The. 
the  Paper. 
the  Prints. 

Vogel's  Collodion  Emulsion. 
B  Education  of  Photographers. 
Effect,  Breadth  of. 
Effects,  BrilUant. 

of  Light. 
Encaustic  Paste  for  Prints. 
Enlargements  and  Lantern  Slides. 
Enlarging   Carte-de-Visite    Nega 

tives. 
Exposure  for  Phototype  Plates, 
for  Platinotypes.' 
of  Bromo-Gelatin  Plates. 
Shortening. 
Time  of. 
Eye,  Education  of  the. 

of  the  Sitter. 
Faces,  The  Study  of. 
Fading  of  Prints. 
Ferrous-Oxalate  Developer,  The. 
Field  Work. 
Figures  in. 
Foreground  Study  in. 
Film,  Blueness  of  the. 

Weakness  of  the. 
Filtering  Albumen  for  Phototypes. 

Gelatin  for  Phototypes. 
Finishing  and  Mounting. 
Fixing. 

Flat  Negatives,  Printing. 
Flatness  and  Want  of  Contrast. 
Fogging. 

Formation  of  Network  on  the  Film. 
Fumes,  Poisonous. 
Fuming  the  Paper. 
Fusing  the  Bath- 
Glace  Prints. 
Glass,  Preparation  of  the. 
Studio,  The. 


NO   LAG, 


ALTHOUGH  there  are  lower-priced  magazines, 

ALTHOUGH  there  are  magazines  issued  more  frequently, 

ALTHOUGH  there  are  magazines  more  thoroughly  de- 
voted to  the  interests  of  the  dealers, 

ALTHOUGH  there  are  younger  magazines, 

ALTHOUGH  some  magazines  watch  less  diligently  the 
interests  of  the  craft, 

YET 
THE  PHILADELPHIA  PHOTOGRAPHER 

CONTINUES  TO  GROW,  AND  THERE  IS 

1ST  O    LAG 

In  the  interest  which  is  taken  in  it  and  the  enthusiasm  with  which  it  is  supported. 

THE    REASON? 

Because  its  editor  puts  his  heart  in  his  work,  gives  it  his  personal  hand  and  head 
work  and  makes  it  the  best. 

Witness  the  report  of  the  Buffalo  Convention,  which  everybody  agrees,  so  far  as  we 
have  heard,  "  was  the  very  best  report  published." 

-No  matter  how  many  other  magazines  you  take,  the  Philadelphia  Photographer 
is  different  from  all  the  rest,  and 

YOU    WANT    IT, 

If  you  want  to  keep  up  in  your  art. 

SAMPLE  COPIES  FREE. 


jggiT  1885  &  1886  NOW  for  $6.50.     $5.00  a  year;  $2  50  for  six  months; 
50  cts.  a  copy.     See  Book  Bargain  Advertisement. 

It  has  been  our  custom  for  many  years,  to  give  old  subscribers  a  premium  for  new  subscriptions 
sent  in  addition  to  their  own.  We  continue  this  plan  by  offering  one  dollar's  worth  of  our 
publications  for  each  such  additional  subscriber  for  a  year.  Please  do  all  you  can  to  increase  our 
usefulness  in  behalf  of  the  glorious  art  of  photography.     It  is  to  your  interest  to  do  so. 

We  have  some  useful  schemes  and  novelties  under  way,  which  will  be  presented  from  time  to  time. 

Contributions  from  both  Actives  and  Amateurs  are  invited.  Proceedings  of  Societies  are  very 
useful  and  should  be  sent  promptly. 

EDWARD  L.  WILSON,  Editor,  Publisher,  and  Proprietor,  1125  Chestnut  St.,  Phila. 


NOTICE    TO    SUBSCRIBERS. 


In  remitting  by  mail,  a  post-office  or- 
der, or  draft,  payable  to  the  order  ot 
Edward  L.  Wilson,  is  preferable  to 
bank-notes.  Postage  stamps  of  the 
denomination  of  two  and  five  cents 
each  will  be  taken.  Clearly  give  your 
Post-Office,  County,  and  State. 

Foreign  subscriptions  must  be  ac- 
companied  by   the   postage    in   addi- 


ADVERTISING  sheets  are  bound 
with  each  number  of  the  Magazine. 
Advertisements  are  inserted  at  the  fol- 
lowing rates : 

One  Six         One 

Month.  Months.   Year. 

One  Page $20.00  $110.00  $200.00 

Half    "    12.00       66.00     120.00 

Quarter  Page...  7.00  38.50  70.00 
Eighth  "  ...  4.00  22.00  40.00 
Cards,    6  lines 

orless 2.00       11.00       20.00 


The  attention  of  advertisers,  and 
those  having  galleries,  etc.,  for  sale 
is  called  to  our  Specialties  pages 
Terms,  $2  for  six  lines,  and  25  cents  foi 
each  additional  line,  seven  words  to  a 
line,  always  in  advance.  Duplicate 
insertions,  50  cents  less,  each. 

We  have  added  an  Exchange  Column 
to  our  Magazine,  wherein  photogra- 
phers having  articles  for  exchange  can 
insert  advertisements  at  the  low  price 
of  15  cents  per  line,  or  fraction  of  a 
line,  of  seven  words  to  a  line. 

Operators  desiring  situations  no 
charge. 


*=! 


BLAIR'S 


REVERSIBLE-BACK  CAMERAS, 


(IMPROVED.) 


Our  recent  improvement  in  this  popular  Camera  still  keeps  it  ahead  of  all  com- 
petitors as  a  Light-Weight  Camera.  . 

Fitted  with  Feather-Weight  Holders,  unless  otherwise  specified.     Ask  for  the 
latest  style  with  metal  guides  and  track. 


PRICE    LIST. 


CAMERA  PROPER. 

Size  of  Plate.  Single  Swing.  Double  Swing. 

4%  x  5y2  $28.00  $30.00 

5x7      31.00  33.00 

6#  x  8)4  35.00  37.00 

8  x  10   40.00  43.00 


EXTENSION. 

Size  of  Plate 

5x8     $800 

8  x  10  1000 

10  x  12  13  00 

11  x  14  1500 


We  are  constantly  adding  new  and  useful  goods  to  our  already  large  list,  which 
will  be  illustrated  on  this  page  from  time  to  time. 

Send  for  catalogues  and  circulars. 


THE  BLAIR  TOUROGRAPH  AND  DRY-PLATE  CO., 

No.  471  Tremont  Street, 

BOSTON,  MASS. 
WAREROOMS,  NEW  YORK  AND  CINCINNATI,  OHIO. 


22d  YEAE.        IVTOVIESilVLIQIETR.,  1885. 


Number  263. 


50  Cents. 


THE 


PHILADELPHIA 


It0t0jjra$te 


AN  ILLUSTRATED  MONTHLY  JOURNAL, 


DEVOTED  TO  PHOTOGRAPHY. 


EDITED  BY  EDWARD  L.  WILSON. 


PHILADELPHIA:   EDWARD  L.  WILSON, 

PUBLISHER  AND   PROPRIETOR, 

No.  1 1 25  Chestnut  Street. 

SUBSCRIPTIONS  RECEIVED  BY  ALL  NEWS  AND  STOCKDEALERS. 
Five  Dollars  per  Annum,  in  Advance. 


Entered  at  the  Post-Office  at  Philadelphia  as  second-class  matter. 


WILSON'S  PHOTOGEAPHIOS,  Fourth  Thousand,  $4.00.  VbpelseeTt] 


SUMMARY    OF    CONTENTS. 


Walter  Bentley  Woodbury, 345 

Development.     By  Thomas  Pray  Jr.,     .     .     .  348 

The  Sun  at  Work, 351 

Protecting   Photographic  Materials  from  Air, 

By  W.  H.  Harrison 353 

A  Photographer  on  Pike's  Peak,     By  Geo.  E. 

Mellen, 356 

No  Books  for  the  P.  A.  of  A., 359 

Thumbs  Down, 359 

Our  Picture, 361 

Gleanings, 361 


Studio  Studies, 362 

German  Correspondence, 364 

Camera  Amateurs, 366 

Society  Gossip 367 

A  Worthy    Liie    Ended.      Walter    Bentley 

Woodbury 368 

Is  Photography  to  Become  a  Lost  Art  ?  An  An- 
swer to  the  Query.     By  D.  Bachrach,  Jr.  370 
Photography  and  Art.     By  Xanthds  Smith,       371 
Editor's  Table 374 


Embellishment. — A  Portrait  Study.  By  Chandler  &  Scheetz,  Philadelphia. 


ADVERTISEMENTS. 


ALLEN  BROTHERS.     The  Suter  Lens. 
ANTHONY  &  CO.,  E.  &  H.  T.     The  New  N.  P.  A. 

Pense  Extra  Brilliant  Dresden  Albumen  Paper. 
BIGELOW'S  ARTISTIC  PHOTOGRAPHY. 
CARBUTT,  J.     Gelatine  Dry  Plates  and  Improved 

Dry  Plate  Lantern. 
COLLINS,  SON  &  CO.,  A.  M.     Photograph  Cards. 
COOPER,  CHAS.  &  CO.     Union  Negative  Cotton. 
CRAMER,  G.      Lightning  Plates. 
DEALERS'  DIRECTORY. 
DOUGLASS,  THOMPSON  &  CO.     Supplies  for  the 

Art-Science  of  Photography. 
EASTMAN  DRY-PLATE  AND  FILM  CO. 
ENTREKIN.     Patent  Eureka  Burnisher.     Duplex 

Rotary  Burnisher.     Duplicating  Print-Cutter. 
FRENCH  &  CO.,  BENJ.     Voigtlander  &  Son  and 

Darlot  Lenses.     The  Wonderful  Euryscope. 
GENNERT,  G.     Albumen  Paper.     C.  Bb'hmke  & 

Co.\ Improved  Aplanats. 
HANCE'S  SPECIALTIES. 
HODGE  &  HUSTON.     The  Solar  Printers. 
HYATT,  H.  A.     New  Brand  of  Dry  Plates. 
INGLIS,  JAMES.     "Insoluble"  Dry  Plates. 
KEEVIL'S   PATENT    NEWTONIAN    DUPLEX 

LANTERN. 


MA  GEE  &  CO.,  JAS.  F.    Photographic  Chemicals. 

MOORE,  ALBERT.     Solar  Enlarger. 

MOSAICS,  1385. 

OPTICAL  LANTERNS  AND  SLIDES. 

PASSAVANT'S  DRY  PLATES. 

PHOTOGRAPHIC  COLORISTS'  GUIDE. 

PHOTOGRAPHIC  PROGRESS  SINCE  1878. 

PHOTOGRAPHIC  PUBLICATIONS. 

PHOTOGRAPHISCHE  MITTHEILUNGEN. 

PICTORIAL  EFFECT  IN  PHOTOGRAPHY. 

ROBINSON'S  NEW  MODEL  PHOTO.  TRIMMER. 

SCOFIELD'S  UNIQUE  CAMERA. 

SCOVILL  MANUFACTURING  CO.  New  Dres- 
den Albumen  Three  Crown  Paper.  Negative 
Washing  Boxes.     Gihon's  Cut-Outs. 

THE  BLAIR  TOUROGRAPH  AND  DRY  PLATE 
CO. 

THE  HELIOTYPE  PRINTING  CO. 

WAYMOUTH'S  VIGNETTE  PAPERS. 

WILSON,  HOOD  &  CO.  Ross  and  Steinheil 
Lenses,  Photo.  Frames,  Goods,  Stereoscopes, 
and  Views. 

WILSON'S  PHOTOGRAPHICS. 

WILSON'S  LANTERN  JOURNEYS. 

WILSON'S  VIEWS  OF  THE  ORIENT. 


119  South  Fourth  St. 
PHELADELPHIA. 

Branch  Office, 
605  Seventh  Street, 

WASHINGTON,  D.  G. 

illll 

H.  HOWSOST, 

Engineer  and  Solicitor  of  Patents. 

C.  HOWSOW, 

Attorney  at  Law,  and  Counsel  in 
Patent  Cases. 

'I 

THE    PHILADELPHIA    PHOTOGEAPHEK.  329 

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jS9S^9ioui  raoog  9qj, 


1  PATENT  EUREKA  RURNME 


II 


The  above  cut  represents  our  25  inch  Eureka. 


The  unprecedented  popularity  of  :] 
Burnisher  is  wonderful.  Over  sevente- 
thousand  (17,000)  sold  in  less  than  fi 
years.  Agencies  in  London,  Berlin,  ai 
Vienna,  and  sold  by  all  stockdealers  intl 
United  States.  The  machines  are  built 
first-class  style,  and  warranted  to  do  fl 
work  claimed. 

Full  directions  accompany  each  machin 


PRICES 


P  6  inch  Roll, 
10  " 

14 


§15  00 
25  OO 
35  00 


20  inch  Roll, 
25 


70 


BNTREKIN'S 
Duplex  Rotary  Burnisher 

PATENTED  JUNE  1,  1875. 

PRICES: 

10  inch, $15  0(! 

15      " 25  0( 

20      " 35  0( 

25      " 45  0( 


ENTREKIN'S  DUPLICATING  PRINT  CUTTER, 


Cabinet  and  Stereo.  Sizes,  $25. OO  Small  Panel  Size,  $35.00. 

Size  6^x8^,  $40  OO. 

MANUFACTURED  AND  FOR  SALE  BY 

W.  G.  ENTREKIN,  4384  Main  St.,  Manayunk,  Philada.,  Pa. 


THE    PHILADELPHIA    PHOTOGEAPHEK  331 

ENTREKIN'S 

IMPROVED 

DUPLEX  ROTARY  BURNISHER. 

PATENTED. 


k  /l/{/A'/If~£'1'G, 


10  in.,  $25.00.     15  in.,  $35.00.     20  in.,  $45.00.    25  in.,  $60.00. 

This  Machine  is  an  improvement  on  our  old  Duplex  Rotary 
Burnisher,  invented  by  us  in  1874. 

It  is  so  constructed  that  by  changing  the  Large  Gear  or  Cog-wheel,  from  the  stud  to  the  end 
of  the  draw-file  or  upper  roll,  you  reverse  and  change  the  speed  of  the  lower  or  polishing  roll, 
thus  getting  the  same  result  as  in  the  old  Duplex  Rotary;  but  to  secure  the  best  polishing  surface, 
use  the  machine  with  the  large  cog-wheel  on  the  Stud,  by  so  doing  you  secure  three  times  the 
polishing  surface.  All  the  machines  will  be  sent  out  with  gearing  so  arranged  as  to  give  this 
result.  It  is  optional  with  the  Photographer  how  he  may  use  the  machine.  The  Fire-Pan  is 
so  arranged  that  it  is  impossible  for  it  to  come  in  contact  with  the  surface  of  the  polished  roll,  and 
it  can  be  turned  away  to  cleanse  the  roll. 

EVERY  MACHINE  WARRANTED  PERFECT. 


FOR  SALE  BY 


W.  G.  ENTREKIN,  Inventor  and  Sole  Manufacturer, 

4384  Main  St.,  Manayunk,  Philadelphia,  Pa. 
AND  BY  ALL  PHOTOGRAPHIC  STOCKDEALERS. 


332     THE  PHILADELPHIA  PHOTOGKAPHEK. 


Eastman  Dry  Plate  and  Film  Co. 


MANUFACTURERS  OF 


Eastman  s  Dry  Plates, 

Eastmans  Negative  Paper, 

Eastmans  Bromide  Paper  for  Contact  Printing 
and  Enlargements, 

The  Eastman- Walker  Roll- Holder. 


We  have  been  awarded  the  Highest  Medals  of  the  International 
Inventions  Exhibition,  Royal  Cronwall  Polytechnic  Society,  Photo- 
graphic Society  of  Great  Britain. 


THE  ONLY  COMPLETE  SYSTEM  OF  FILM  PHOTOGRAPHY. 

Send  for  circulars. 

THE  EASTMAN  DRY  PLATE  AND  FILM  CO. 

ROCHESTER,  N.  Y. 


THE    PHILADELPHIA    PHOTOGRAPHER. 


333 


WILSON'S  LANTERN  JOURNEYS 

These  descriptions  should  be  in  the  hands  of  every  Lantern  Exhibitor  and  Lecturer.  They 
help  you  choose  slides.  They  tell  you  what  facts  and  figures  the  public  want  to  know  about  the 
places  and  things  you  exhibit.  The  contents  are  divided  into  JOURNEYS  or  selections  as  per 
list  below : 


DESCRIBES 

SLIDES 

ALL  OVER 

THE  WORLD. 


3  VOLUMES. 


VOLUME  I.  306  PAGES, 

Contains  NINE  Journeys : 

A — France  and  Switzerland. 

B — Belgium,      Germany,     Austria, 

Saxony,  and  Bavaria. 
O — Italy — Lakes,    Cities,    and    the 

Italian  Art  Galleries. 
D — Holland,      Denmark,     Norway, 

Sweden,  Russia,  and  Spain. 
B — Egypt,  Palestine,  Syria,  Turkey, 

Greece,  and  India. 
F — England,  Scotland,  and  United 

States  of  America. 
G — Centennial  Exhibition,  Philada. 
H — Centennial  Exhibition,  Philada. 
I— The  Paris  Exposition,  1878. 

IN  ALL,  O  VEB,  900  S  UBJECTS. 

PRICE  $2,  POST-PAID. 


DESCRIBES 

SLIDES 

ALL  OVER 

THE  WORLD 


3  VOLUMES. 


VOLUME  E.  331  PAGES, 

Contains  TWELVE  Journeys: 

J — Germany  and  Russia. 

K — Belgium  and  Austria. 

L — France — Cities  and  Provinces. 

M — Spain  and  Portugal. 

N — Switzerland— The   Four  Alpine 

Routes. 
O — Italy,  Ischia,  and  Sicily. 
P— Turkey,  Greece,  and  Egypt. 
Q — Palestine  and  India. 
R — Scotland — Cities  and  Ruins. 
S — Ireland. 
T— England— Cities,  Museums,  and 

Ruins. 
U — United  States  of  America. 

IN  ALL,  1073  SUBJECTS. 

PRICE  $2,  POST-PAID. 


m~ VOLUME  III— ON  THE  ORIENT— NOW  READY.=^g 
PRICE  $2,  POST-PAID. 

Gives  descriptions  of  all  the  slides  made  hy  Mr.  Edward  L.  Wilson  of  his  personally- 
taken  views  of  The  Sinai  Peninsula ;   The  Desert  of  the  Exodus ;   The 
Route  of  the  Israelites  to  the  Promised  Land;  and 

THE  TAKING  OF  PETRA 

NEW    LECTURES    IN    PRESS. 


by  IiTDSeaafer8.  EDWARD  L.  WILSON,  Photo.  Publisher,  Philadelphia,  Pa. 


334 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


this  FAVORITE  ANNUAL  nearly  ready. 


144  PAGES— 50  CENTS;   CLOTH  COVER,  $1.00—144  PAGES. 


PARTIAL  CONTENTS. 


The  Year  of  Photography  the  Last. 

Preparation  of  Paper  with  Emulsion. 

Yellow    Stains    in    Gelatine    Negatives.     W.    H. 

Sherman,  Milwaukee,  Wis. 
My  Developer.     Wm.  McComb,  Muskegon,  Mich. 
An  Easy  Method  of  Saving  the  Silver  from  Old 

Fixing  Baths.     H.  D.  Garrison,  Chicago,  Ills. 
An  Amateur's  Experiments.     Marcus  H.  Rogers, 

East  Brimfield,  Mass. 
A  Good  Black  Stain      George  W.  Leas,  Peru,  Ind. 
White  Light  on  Unfixed  Negatives  and  the  Stains 

Attributed  to  It.    Harry  Piatt,  Nantucket,  Mass. 
The  Background,  and   Its  Artistic  Importance  in 

Portraiture.     Dr.  St.  Samnier,  Easton,  Md. 
Insurance  by  the   P.   A.   of  A.     M.    P.    Brown, 

Tecumseh,  Mich. 
Success.     B.  T.  Rice,  Frankfort,  Kan. 
The  Storage  of  Negatives.     T.  B.  Clark,  Indiana, 

Pa. 
Some  Good  Hints  and  Dodges.     Ranald  Douglas, 

West  Gardner,  Mass. 
Abuses  of  Retouching.     C.  F.  Moelk,  Edina,  Mo. 
Sensitizer  for  Gelatine   Plates.     Fr.  Perces,  Point 

Pleasant,  N.  J. 
Snap-shutter    Pictures    on    Slow    Plates.     Walter 

Browne,  Brooklyn,  N.  Y. 
Printing  on  Canvas      J.  Burnet. 
The  Proper  Distribution  of  Photographic  Objects 

in  the  Space  Allotted  to  Them.    J.  H.  Sunder- 

line,  Philadelphia. 
What  to  Do  with  Your  Printing  Bath  when  it  Turns 

Yellow.     H.  G.  Parcel],  Kirksville,  Mo. 


20.  Hints  on  the  Picturesque.  E.  Livingstone,  Aberdeen. 

20.  Things   to  "  Dont," — for  Immatures   Exclusively. 

Thomas  Pray,  Jr.,  Boston,  Mass. 

21.  Development  of  Instantaneous  Pictures.     Garvey 

Donaldson,  New  York. 
27.  A  Word    about    Emulsion    Paper.     B.    Brargeoin 
Barnes. 

23.  Dots,  Dodges,  and  Do  Thems.     Fred.  H.  Wilson, 

Philadelphia. 

24.  An  Architectural    Morsel   for   Our   Yearly   Plate. 

M.  H.  Albee,  Marlboro,  Mass. 

25.  Just  Try  It  Once.    W.  B.  Tyler,  San  Francisco,  Cal. 

26.  Notions   from    Nova    Scotia.     John   H.    Stubbert, 

Cape  Breton,  N   S. 

27.  A  Very  Simple  "Dry"  Developer.     E.  D.  Ritton, 

Danbury,  Conn. 

28.  Othello's    Occupation   is    Not    Gone.     J.    Pitcher 

Spooner,  Stockton,  Cal. 

29.  Russian,  Prussian,  French,  German,  English,  and 

Italian.     A.  Fore.  Unner. 

30.  Photography  a  Fine  Art.     Xanthus  Smith,  Phila- 

delphia. 

31.  Jots  from  My  Journal.     Old  Graybeard. 

32.  Printing  at  the  New  Orleans  Exposition.     Charles 

E.  Fellows,  Philadelphia. 

33.  Good  Prices,  and  How  Obtained.     J.  W.  Denton, 

Jacksonville  111. 

34.  Development  of   Dry    Plates    in   Two    Solutions. 

D.  Bachrach,  Jr.,  Baltimore,  Md. 

35.  Experience  and  Its  Worth.    David  Cooper,  Roches- 

ter, N.  Y. 

36.  The  Magic  Lantern.     Jay  Densmore,  Niles,  Mich. 


AND  ALMOST  AS  MANY  MORE. 


EDWARD  L.  WILSON,  Photo.  Publisher,  1125  Chestnut  Street,  Philadelphia. 

Mailed  on  receipt  of  2>rice.        For  Sale  by  all  Dealers. 


THE    PHILADELPHIA    PHOTO&EAPHER. 


335 


THE  STANLEY  DRY  PLATE 

Has  passed  through  the  ordeal  of  its  first  summer,  and  its  manufacturers  have  almost  entirely 
escaped  the  usual  trials  of  fogging,  frilling,  and  other  perplexities.  In  fact,  the  quantity  sold  in 
July  exceeds  that  of  any  former  month. 

Its  unusual  combination  of  sensitiveness  and  brilliancy  have  made  it  a  general  favorite,  and  the 
territory  into  which  it  penetrates  grows  constantly  larger. 

AMONG  ITS  RECENT  ACHIEVEMENTS  ARE 

Instantaneous  Views  of  the  Decoration  Day  Parade  (3d  size  stop),  taken  without 
sunlight,  used  as  a  Bulletin  Illustration. 

Views  of  Horses  and  Carriages  entering  Central  Park,  trotting  rapidly  across 
the  field  of  view,  sharp  and  clear  cut.     These  will  appear  in  the  Bulletin. 

Vietvs  of  Steamboats  going  twenty  miles  an  hour  directly  across  the  field,  taken  at  5.30  p.  m. 
Sharp  and  clear  as  if  standing  still. 

The  Life-size  Portrait  of  J~.  F.  Ryder,  by  McMichael,  shown  at  the  Buffalo  Con- 
vention, was  made  on  an  18  x  22  Stanley  Plate  in  five  seconds,  with  a  Dallmeyer  Rapid 
Rectilinear  Lens. 

Instantaneous  Views,  by  Mr.  Henry  J.  Newton,  President  of  Photographic  Section  of  the 
American  Institute,  about  which  he  writes  : 

"  I  found  that  sunshine  was  not  absolutely  necessary  for  instantaneous  negatives  on 
these  plates,  and  I  think  a  majority  of  the  negatives  I  send  you  were  made  when  there  was  not  sufficient 
sunlight  to  cast  a  visible  shadow.  I  think  it  is  due  that  I  should  say  that  the  plates  worked  satisfactorily  in 
every  respect,  exhibiting  extreme  sensitiveness,  responding  readily  to  the  developer,  and  going  steadily  on 
to  the  finish. 

P.  S.  I  used  the  Prosch  Shutter  at  its  full  speed."  (Signed),  H.  J.  Newton. 

And  now  to  crown  the  whole,  Mr.  Parkinson  writes  as  follows : 

Parkinson  Photo.  Parlors,  29  W.  26th  St., 
E.  &  H.  T.  Anthony  &  Co .  :  New  York,  August  12,  1885. 

"  Gentlemen  :  I  take  pleasure  in  assuring  you  that  I  made  a  group  portrait  in  my  gallery  of  an  old  lady  of 
eighty  years,  with  child  of  four  years,  a  month  or  two  since,  on  a  Stanley  18  X  22  plate,  in  one  second, 
with  Dallmeyer  Rapid  Rectilinear  Lens.  A  little  more  time  would  have  done  no  harm ;  but  the  picture  in 
question  has  elicited  as  many  words  of  praise  from  visitors  to  my  studio  as  any  other  in  same  length  of  time." 

Yours  truly,  W.  B.  Parkinson. 


The  Stanley  Dry  Plates  can  be  had  from  any  dealer,  or  direct  from 


E.  &  H.  T.  ANTHONY  &  CO., 

591  BROADWAY,  NEW  YORK. 


Another  thing  that  has  gone  rapidly  to  the  front  is  the 


PYRO 


When  Dry  Plates  were  first  introduced  it  was  not  yet  on  the  market,  and  the  old  stereotyped 
developing  formulas  do  not  mention  it;  but  in  the  developing  formulas  of  the  more  recent  popular 
flates,  as  the  Stanley  and  the  St.  Louis,  the  E.  A.  Pyro  is  recommended  as  most  desirable,  and  in 
the  Eastman  Dry  Plate  Co.  formulas  the  same  preference  is  given  ever  since  they  knew  of  its  merits. 

It  is  always  used  by  the  veteran  "Roche,"  and  constitues  one  of  the  main  elements  in  the  popu- 
lar Cooper's  Developer. 

Every  photographer  should  try  the  E.  A.  Pyro.  Every  dealer  has  it,  or  ought  to  have  it,  or  it 
can  be  had  direct  from 

E.  &  H.  T.  ANTHONY  &  CO.,  591  Broadway,  N.  Y. 


336  THE    PHILADELPHIA    PHOTOGRAPHED. 

PASSAVANT'S  DRY  PLATES 

ABE  CONCEDED  BY  THE  LEADING  PHOTOGBABHEBS 
OF  THE  PACIFIC  COAST  TO  BE 

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working  with  great  softness  and  delicacy. 

For  ordinary  Studio  Work  and  Landscape. 


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14x17,      . 

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.     .     1  20 

8      x  lO, 

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17  x  20,      . 

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Numerous  testimonials  from  all  parts  of  the  States  at  hand.     Try  them. 

Passavant's  Photographic  Dry  Plate  Factory, 

306  GUERRERO  STREET,  SAN  FRANCISCO,  CAL. 

OSCAR    FOSS,    SOLE    AGENT    FOR    THE    PACIFIC    COAST. 

OUR  SPECIALTIES. 


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CROSS-SWORD    DRESDEN   ALBUMEN    PAPER, 
Single  and  Extra  Brilliant.    The  Best  in  the  Market. 

ALSO  A  GENERAL  LINE  OF 

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A  circular,  "  How  to  Save  Waste,"  sent  on  application. 

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THE    PHILADELPHIA    PHOTOGRAPHER  337 

Benj.  French  &  Co. 

No.  319  WASHINGTON  STREET,  BOSTON, 

Sole  Agents  in  the  United  States  for  the  Celebrated  Lenses 
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338 


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THE    PHILADELPHIA    PHOTOGRAPHER.  339 


I 


The  amateur  and  his  old  friend,  the  daily  worker,  are  well  taken  care  of  in  the 
literature  line,  and  we  ask  their  attention  to  the  following  list,  which  includes 
about  everything  there  is  need  for.  There  is,  in  fact,  a  treatise  on  every  branch 
of  photography. 

The  Philadelphia  Photographer.  A  monthly  magazine,  illustrated  by  photographs  of 
superior  merit.  $5  a  year;  $2.50  for  six  months. — Stands  ahead  of  all  its  kindred.  Twenty-one 
years  of  success  is  a  sufficient  guarantee  of  its  value  and  use  to  the  practical,  working,  growing 
photographer.     Do  not  go  without  its  valuable  help. 

The  Ferrotyper's  G-uide.  Price,  75  cents. — Cheap  and  complete.  For  the  ferrotyper 
this  is  the  only  standard  work.     Seventh  thousand. 

Pictorial  Effect  in  Photography.  By  H.  P.  Robinson.  Cloth,  $1.50;  paper  cover, 
$  1 . — For  the  art  photographer. 

"Wilson's  Photographies.  The  newest  and  most  complete  photographic  lesson-book. 
Covers  every  department.     352  pages.     Finely  illustrated.     Only  $4.     By  Edward  L.  Wilson. 

"Wilson's  Lantern  Journeys.  By  Edward  L.  Wilson.  In  three  volumes.  Price,  #2  per 
volume. — For  the  lantern  exhibitor.  Gives  incidents  and  facts  in  entertaining  style  of  about  2,000 
places  and  things,  including  200  of  the  Centennial  Exhibition. 

Studies  in  Artistic  Printing.  By  C.  W.  Heam.  Price,  $3.50. — Embellished  with  six 
fine  cabinet  and  promenade  portrait  studies. 

The  Photographic  Oolorists'  G-uide.  By  John  L.  Gihon.  Cloth,  $1.50. — The  newest 
and  best  work  on  painting  photographs. 

Photographic  Mosaics,  1885.  A  year-book.  Cloth  bound,  $1 ;  paper  cover  50  cents. 
Better  than  any  of  its  predecessors. — Back  volumes,  same  price. 

The  Photographic  Amateur.  By  J.  Traill  Taylor.  A  guide  to  the  young  photogra- 
pher, either  professional  or  amateur.     Price,  50  cents. 

The  Art  and  Practice  of  Silver-Printing.  By  H.  P.  Robinson  and  Capt.  Abney, 
R.E.,  F.R.S.     Price,  50  cents.     Illuminated  cover.     Cloth  bound,  75  cents. 

Photography  with  Emulsion.  By  Capt.  W.  De  W  Abney,  R.E.,  F.R.S.  Price,  $1 
per  copy. 

Twelve  Elementary  Lessons  in  Dry- plate  Photography.  Price,  25  cents  per 
copy. 

The  Modern  Practice  of  Retouching.     Price,  50  cents  per  copy. 

The  Progress  of  Photography.  By  Dr.  H.  W.  Vogel.  A  splendid  helper  to  all  workers. 
Price,  #3. 

Picture  Making.     By  H.  P.  Robinson.     Cloth,  $1.     Paper,  50  cents. 

All  orders  for  above  will  be  filled,  free  by  post,  on  receipt  of  price  at  the 
office  of  this  magazine. 

EDWARD  L.  WILSON,  Photo.  Publisher,  1125  Chestnut  St.,  Phila. 


wMffg  vmmuwtt 

WHAT  IS  SAID  BY  ITS  READERS: 


We  cannot  recommend  it  too  highly  to  our  colleagues. 
— Mons.  Leon  Vidal,  Editor  of  the  Paris  Moniteur. 

The  success  of  this  latest  gem  of  photographic  litera- 
ture will,  no  doubt,  be  as  great  as  the  merit  of  the  work 
deserves.  Among  the  photographic  writers  of  America 
E.  L.  Wilson  stands  without  a  compeer. — Dr.  H.  Vogel, 
Editor  of  the  Photo.  Mitth. 

By  far  the  best  photographic  book  ever  published  in 
America.  It  is  written  with  great  elegance  and  mas- 
terly handling  of  the  subject. — Dr.  E.  Horning,  Editor 
of  Photographic  Correspondez,  Vienna. 

Would  not  be  without  one  for  triple  the  price. — 
Emmerson  Goddard,  Woonsocket,  R.  I. 

It  is  a  perfect  encyclopaedia  of  the  photographic  art 
up  to  date. — H.  L.  Bliss,  Buffalo,  N.  Y. 

Photographies  is  the  most  imposing  book  devoted  to 
photography  I  have  seen. — J.  F.  Ryder,  Cleveland. 

Photographies  looks  fine,  and  is  selling  well.  We  are 
doing  our  best  to  push  it. — W.  Irving  Adams,  N.  Y. 

The  plan  of  the  book  is  novel.  .  .  .  Mr.  Wilson  could 
hardly  fail  by  this  plan  in  making  a  useful  and  prac- 
tical publication. — Anthony's  Bulletin,  N.  Y. 

It  is  the  very  best  text-book  upon  our  beloved  art. — 
John  R.  Clemons,  Phila. 

I  have  inquiries  for  a  good  book  on  photography,  and 
I  think  yours  is  that  book. — John  Carbutt,  Phila. 

It  is  a  pity  you  can't  send  to  every  one  the  pages 
from  1  to  17";  all  would  be  sure  to  go  for  the  rest  of  it. 
— J.  H.  Hallenbeck,  New  York. 

It  is  a  complete  library. — W.  D.  Satchel,  Cinn. 

We  know  of  no  one  in  our  fraternity  more  capable  of 
compiling  such  a  work  for  the  benefit  of  the  photo- 
graphic brotherhood  than  Mr.  Wilson. — J.  H.  Fitz- 
gibbon,  in  St.  Louis  Practical  Photographer. 

It  demands  a  position  in  the  library  of  every  photog- 
rapher, and  this  position  it  will  assuredly  attain  as 
soon  as  its  merits  become  known. — Editor  Photographic 
Times  and  American  Photographer. 

Photographies  is  my  evening  companion,  and  with  it 
the  evenings  are  very  short.  It  is  just  what  I  have 
been  wanting  for  a  long  time. — Well  G.  Singhi,  Bing- 
hainpton,  N.  Y. 

It  is  a  good  work,  and  I  look  to  see  you  issue  a 
second  edition  as  soon  as  it  has  had  time  to  commend 
itself. — D.  Bachrach,  Jr.,  Bait.,  Md. 

I  consider  it  greatly  superior  to  anything  yet  pub- 
lished.— J.  B.  Leisenring,  Fort  Dodge,  Iowa. 

It  is  a  most  useful  book,  and  its  practical  teachings 
to  the  studious  photographer  contain  the  most  valuable 
information. — C.  D.  Mosher,  Chicago. 

Photographies  hits  the  nail  right  on  the  head.  I 
would  rather  have  it  than  all  the  other  books  on  pho- 
tography put  together.  The  idea  is  capital,  as  it  is 
original,  and  gives  us  the  whole  thing  in  a  nutshell. — 
B.  W.  Kilburn,  Littleton,  N.  H. 


I  hope  that  every  photographer  will  see  to  it  that  his 
$4  goes  direct  to  you,  without  any  dealer's  commission 
off,  in  order  that  you  may  have  the  full  benefit  of  its 
price — a  benefit  indeed  for  the  many  years  you  have 
played  your  part  so  carefully  upon  the  photographic 
stage  for  us. — Fred.  C.  Phillips,  St.  Thomas. 

It  is  the  most  unique  aud  powerful  work  upon  the 
subject  I  have  ever  seen. — J.  E.  Beebe,  Chicago. 

The  book  of  photography.  It  is  worth  the  price  with 
compound  interest. — P.  Kellmer,  Hazleton,  Pa. 

I  have  read  Photographies  through,  and  am  fully" 
satisfied  it  is  without  a  peer  in  photographic  literature. 
To  me  it  is  invaluable. — E.  P.  Hovey,  Rome,  N.  Y. 

My  friend  and  tutor,  allow  me  to  thank  you  for  your 
noble  book,  and  may  thousands  testify  to  its  value  by 
giving  it  the  chiefest  place  in  their  library. — F.  M. 
Spencer,  Mansfield,  Pa. 

I  can  assure  you  sincerely  that  I  never  invested  $4.(10 
for  reading  with  as  much  satisfaction  as  in  this  case. — 
C.  T.  Stuart,  Hartford,  Conn. 

A  short  tims  since  I  had  the  pleasure  of  perusing 
your  new  book  Photographies,  As  a  result  I  want  it, 
and  enclose  check  for  four  dollars. — Geo.  Pine,  Trenton, 
New  Jersey. 

Of  all  the  photographic  literature  published,  this 
book  seems  the  very  best. — J.  P.  Spooner,  Stockton, 
Cal. 

I  am  very  much  delighted  with  it.  The  treatises  on 
dry-plates,  emulsions,  etc.  etc.,  are  all  very  minute  in 
detail. — J.  A.  Van  Drelzen,  Peoria,  111. 

I  think  the  Photographies  a  very  valuable  book,  one 
that  every  photographer  should  have. — K.  T.  Sheldon, 
West  Winsted,  Conn. 

It  is  the  best  book  I  ever  got  possession  of.  Those 
who  want  lightning  or  instantaneous  processes  had 
better  get  a  copy  and  work  with  pleasure.  Nothing 
like  it;  too  good  to  be  without. — Joseph  Theiring, 
Cincinnati,  Ohio. 

The  first  short  article  that  I  read  was  worth  the  cost 
of  the  book,  and  in  looking  it  over  find  it  contains  an 
inestimable  amount  of  valuable  information  which 
would  not  be  found  out  in  a  lifetime  of  practice. — E. 
F.  Burchand,  Worthington,  Minn. 

Your  Photographies  will  supply  a  want  long  felt 
among  the  fraternity,  more  especially  among  those  like 
ourselves  who  are  "out  of  the  world,"  so  to  speak. — 
J.  R.  Hanna,  Auckland,  Australia. 

One  hundred  dollars  would  not  buy  mine  if  I  could 
not  get  another.  I  do  not  see  how  I  managed  so  long 
without  it. — Oscar  Cromwell,  Grizzly  Flat,  Col. 

Photographies  suits  me  better  than  any  similar  work 
I  have  come  across.  The  giving  of  the  experience  of 
different  workers  on  the  same  subject,  and  giving  it  in 
their  own  words,  being  an  especially  valuable  feature. 
— S.  B.  Kill,  Flemington,  N.  J. 

Your  Photographies  is  the  best  thing  out;  practical 
and  lo  the  point,  and  no  nonsense. — Walt.  C.  North, 
Uticu,  N.  Y. 


SALE  DON'T  STOP. 

"Will  be  mailed,  post-paid,  to  any  address,  on  receipt  of  $4.00. 

EDWARD  L.  WILSON,    Author  and  Publisher,  1125  Chestnut  Street,  Philadelphia 


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Scovill  Manufacturing  Company,  Trade  Agents. 
FOR  SALE  BY  ALL  DEALERS. 


342 


THE  PHILADELPHIA  PHOTOGEAPHEP. 


VERFLOW ! 

Photographic  Books 

BARGAINS  FOR  PHOTOGRAPHERS. 

Owing  to  the  overflow  in  our  establishment,  we  are  enabled  to  offer  special 
bargains  to  operators,  assistants,  employers  and  amateurs. 

The  books  are  every  bit  as  good  as  new,  and  some  of  them,  especially 
Mosaics,  the  Year  Books,  and  Philadelphia  Photographer,  of  back 
years,  are  the  last  there  will  be. 

3XTo"to  Tltxls  and  Order  <^io.iol5.- 


1.  Pictorial  Effect  in  Photography,  . 

2.  G-ihon's  Colorists'  Guide,    .... 

3.  Vogel's  Progress  in  Photography, 

4.  The  Photographic  Amateur,      .    . 

5.  The  Studios  of  Europe 

6.  British  Journal  Almanac,  1885, . 

7.  Year  Book  of  Photography,  1868, 

1869, 1870, 1871, 1877, 1882, 1885, 


$0  50 
50 
1  00 
25 
50 
25 

15 


8.  Photographic  Mosaics,  1865 
1867, 1871, 1872, 1873, 1874, 1875 
1876, 1877, 1878, 1881, 1882, 1883 
1884,  1885, ,    .    . 

9.  The  Centennial  Diary,  .... 
10.  Anderson's    Comic  Allmyknack 


15 
25 
25 


One  Parcel  Containing  1,  2,  3,  4,  5, $2  50 

One  Parcel  Containing  Ten  Copies  of  8  and  10, 1  25 

One  Parcel  Containing  1,  2,  3,  4,  5,  6,  7,  11,  12, 4  00 

Where  any  five  books  are  taken,  half  the  amount  will  be  added  in  copies  of  the 
Philadelphia  Photographer  as  discount,  and  sent  by  express. 

A  SPECIAL  P.  P.  BARGAIN. 

We  cannot  always  complete  volumes,  but  make  the  following  offer : 

Single  Copies  of  the  Philadelphia  Photographer,        .        .  $0  15 
Twelve  .    "  "  "  "  .        .      I  50 

A  Full  Volume  "  "  "  .        .      1  50 

The  magnificent  studies  in  our  art,  and  the  splendid  articles  contained  in  our 
back  numbers,  ought  to  cause  a  quick  scramble  for  these,  especially  from  the 
amateurs  and  those  who  forgot  to  subscribe. 

Wo  such  offer  will  ever  be  made  again.     The  overflow  stock  is  not  large, 
and  you  should  order  early. 

EDWARD  L.  WILSON, 

Photo.  Publisher,  1125  Chestnut  St.,  Phila. 


THE    PHILADELPHIA    PHOTOGRAPHER. 


343 


New  Book  by  Dr.  H.W.Vogel, 

@ -THE a 

PROGRESS  OF  PHOTOGRAPHY. 

THE  BEST  EFFORT  OF  THIS  VETERAN  TEACHER. 

Every  Photographer  and  Amateur  should  Read   it   Carefully. 

CHAPTER  I. 

PHYSICAL  EFFECTS  OF  LIGHT. 

CHAPTER  II. 

CHEMICAL  EFFECTS  OF  LIGHT. 

CHAPTER  III. 

PHOTOGRAPHIC  CHEMISTRY. 

CHAPTER  IV. 

PHOTOGRAPHIC  OPTICS. 

CHAPTER  V. 

PHOTOGRAPHIC  APPARATUS. 

CHAPTER  VI. 

THE  NEW  PHOTOGRAPHIC 
PROCESSES. 

CHAPTER  VII. 

PHOTOGRAPHIC  AESTHETICS  AND 
PORTRAIT  TECHNIQUE. 

CHAPTER  VIII. 

PHOTOGRAPHY  FOR  AMATEURS. 

As  the  Artist  should  Study  all  about  the  Pace,  so  should  the 
Photographer  Study  all  about  his  Art. 

HO  BETTER  OPPORTUNITY  TO  DO  THIS  IS  AFFORDED  THAH  THAT  FOUND 

IN 

Progress  of  Photography. 


34:  "7 


AGrEiS. 


PRICE 


$3.00 


$3.00 

With  Seventy-two  Illustrations,  and  an  admirable  portrait  taken  with 
Electric  Light,  by  W.  Kurtz,  New  York. 

EDWARD  L.  WILSON,  Publisher,  1125  Chestnut  St.,  Phila. 


344 


THE    PHILADELPHIA    PHOTOGRAPHER 


DEALERS'  DIRECTORY. 


The  following  houses  are  to  be  recommended  as 
the  best  for  photographers  in  their  localities. 


S.  T.  BLESSING, 

New  Orleans,  La. 
And  Galveston,  Texas. 


THE 

BEST  BOOK 

IS 


SMITH  & PATTISON, 

New  Location, 

145  &  147  Wabash  Avenue, 

Chicago. 


H.  A.  HYATT, 

Mound  City  Photo.  Stock  House, 

8th  and  Locust  Sts., 

St.  Louis,  Mo. 


WILSON'S 

PHOTOGRAPHICS, 

$4.00. 


SCOVILL  MANF'G  CO, 

423  Broome  St., 
New  York. 


O.H.OODMAN&GO. 

Boston,  Mass. 


BUCHANAN,  SMEDLEY 
I  BROMLEY, 

25  N.  Seventh  St., 

Philadelphia. 


OSCAR  FOSS, 

San  Francisco, 
Cal. 


D.  TUCKER  &  CO, 

Buffalo, 

N.  Y. 


WILSON,  HOOD  &  CO,, 

825  Arch  Street, 
Philadelphia,  Pa. 


A.  B.  PAINE  &  CO 

Fort  Scott, 

Kansas. 


E.&H.T.ANTHONY&CO, 

591  Broadway, 

New  York. 


D.  J.  RYAN, 

Savannah, 

Ga. 


ALLEN  BROS. 

Detroit, 

Michegan. 


B.  FRENCH  &  CO. 

Boston,  Mass. 


MDLLETT  BEOS. 

Kansas  City, 
Mo. 


SHEEN  &  SIMPKINSON, 


Cincinnati, 

Ohio. 


CHANDLER  &    SCHEETZ, 


PHILADELPHIA. 


THE 


EDITED    BY    EDWARD    L.    WILSON. 


Vol.  XXII. 


NOVEMBER,   1885. 


No.  263. 


WALTER  BENTLEY  WOODBURY. 

On  Saturday  last  Mr.  Woodbury  was 
buried.  Stat  magni  no  minis  umbra.  To- 
day we  purpose  to  give  a  brief  account  of 
the  man  whose  funeral  was  attended  in  sor- 
rowing affection — if  not  in  presence,  in  sym- 
pathy— by  the  whole  photographic  world, 
for  whom  he  labored,  and  for  whom  he  did 
so  much. 

Walter  Bentley  Woodbury  was  born  June 
26,  1834,  at  Manchester,  Eng.,  where  he  was 
educated.  He  was  named  after  his  maternal 
grandfather,  Walter  Bentley,  a  naturalist 
of  some  repute.  He  was  the  eldest  of  five 
children.  His  father,  John  Woodbury,  was 
one  of  the  original  promoters,  if  not  the 
originator,  of  the  early  closing  movement. 
His  mother,  the  daughter  of  Walter  Bent- 
ley, was  much  respected  for  her  high  prin- 
ciples and  gentle  nature,  qualities  inherited 
by  all  her  children. 

Readers  of  this  journal  will  remember  his 
interesting  "  Reminiscences  "  which  he  con- 
tributed last  year,  from  which  it  is  evident 
that  his  love  for  "things  photographical  " 
was  developed  at  a  very  early  period  of  his 
life.  "  I  had  always  been  great,"  he  writes, 
"in  'camera  obscura  '  of  various  forms — 
cigar-boxes  and  spectacle-lenses  being  the 
general  basis — and  my  greatest  pride,  at  the 
age  of  twelve,  was  to  take  my  boyish  com- 
panions to  the  garret,  at  the  top  of  the  house, 
where  I  had,  by  means  of  an  old  magnifying 
mirror,  from  which  I  had  removed  the  mer- 


cury backing,  and  a  sheet  of  looking-glass, 
been  able  to  throw  a  two-foot  image  onto  a 
table  beneath.  The  foreground  of  the  picture 
consisted  mainly  of  chimney  pots  and  roofs, 
but  above  these  was  a  more  extensive  view, 
embracing  the  tower  of  the  old  Cathedral 
of  Manchester,  '  Th'  owd  Church,'  as  it  was 
generally  designated.  To  be  able  to  show 
the  time  on  a  sheet  of  paper  below,  without 
going  on  the  roof,  where  the  best  sight 
could  not  have  distinguished  the  fingers  of 
the  clock,  was  my  grand  tour  deforce.  The 
idea  that  such  a  picture  could  be  fixed  was 
too  wild  to  be  even  dreamt  of  in  my  young 
philosophy."  Yet,  Hamlet-like,  he  soon  dis- 
covers after  all  that  there  are  more  things  in 
heaven  and  earth  than  those  of  which  his 
young  philosophy  may  dream.  Pocket- 
money  and  "  tips,"  instead  of  being  invested 
in  the  customary  jam,  tart,  and  Swiss  roll, 
are  heroically  saved  for  "  pyro  "  and  other 
photographical  dainties — at  all  which  things, 
like  good  amateur  photographers,  we  smile, 
and  exclaim  with  the  poet,  "made  nova 
virtute,  puer,  sic  itur  ad  astra." 

For  some  years  Walter  Woodbury  plods 
sturdidly  on  in  all  the  fervor  of  love's  young 
dream.  Cameras  are  constructed  out  of 
stout  mill-board,  with  the  assistance  of 
strong  black  tape — "  dark  slides  "  of  a  simi- 
lar material  varnished.  "Lenses"  are  ex- 
temporized out  of  all  sorts  of  impossible 
materials.  Neither  barrel-shaped  lines,  or 
the  reverse,  disturb  his  equanimity.    Where 


24 


34ti 


THE    PHILADELPHIA    PHOTOGEAPHEK. 


there's  a  will  there's  a  way,  and  all  goes 
well.  But,  alas !  the  course  of  true  love 
never  did  run  smooth.  Photography  finds 
herself  face  to  face  with  a  rival  in  the  young 
enthusiast's  heart.  Or  to  change  our  meta- 
phor. "Gold  fever"  is  in  the  air,  Walter 
Woodbury  catches  it,  secures  his  passage  in 
some  "outward  bound,"  and  sails  for  Aus- 
tralia. 

"  My  old  love,  my  idol,  was  shattered  and 
forgotten  entirely.  Cradles,  tents,  picks, 
spades,  and  revolvers  put  camera  and  collo- 
dion entirely  on  one  side.  I  was  off  to  Aus- 
tralia, with  all  the  requisites  to  make  my 
fortune  in  a  few  months,  and,  what  is  more, 
I  really,  believed  I  was  going  to  do  it." 

There  is  an  old  and  respectable  saying 
which  asserts  that  all  is  not  gold  that  glit- 
ters. We  must  not  for  a  moment  be  under- 
stood to  cast  suspicion  on  the  purity  of  Aus- 
tralian gold,  nor  would  we  wish  to  damp 
the  ardor  of  any  future  diggers  ;  but  we  feel 
bound  to  chronicle  the  fact  that  the  young 
searcher  after  gold  experienced  the  truth  of 
the  saying.  The  gold,  at  all  events,  did  not 
glitter  for  him,  no  nuggets  illuminated  the 
darkness  of  his  "diggings."  Many  a  time 
during  the  troubles  and  hardships  of  the 
next  few  years  he  must  have  sorrowfully 
confessed  that  it  was  distance,  and  distance 
only,  that  had  lent  enchantment  to  the  view 
of  his  El  Dorado. 

Yet,  in  this  world,  as  Dr.  Pangloss,  if  we 
remember  rightly,  tells  us,  "  all  is  for  the 
best."  Australia,  after  all,  does  not  consist 
entirely  of  fields  of  inaccessible  gold.  She 
has,  at  least,  one  fine  field  where  photog- 
raphy may  flourish.  Walter  Woodbury 
discovered  it.  Like  a  certain  Hebrew 
monarch,  he  went  out  seeking  asses  and 
found  a  kingdom. 

Let  him  once  more  speak  for  himself. 
"  On  arrival  at  Melbourne,  I  found  that 
everybody  was  returning  from  the  gold  dig- 
gings disgusted,  and  the  town  was  so  full, 
that  another  town  of  tents,  called  Canvas 
Town,  had  to  be  built.  Not  being  en- 
couraged to  Iry  my  fortune  at  the  diggings 
after  learning  this,  and  after  some  months 
trying  to  get  some  congenial  position,  I 
found  my  little  means  almost  exhausted, 
being  reduced  to  about  £6,  besides  being 
thousands  of  miles  from  home.     But  just 


at  this  time,  of  all  extraordinary  things, 
what  should  I  see  in  an  old  store-shop  but 
a  camera  and  lens  for  sale.  My  old  love 
returned  at  the  sight  of  it — it  had  evidently 
never  left  me  —  and  I,  recklessly,  never 
thinking  of  the  question,  '  What  will  I  do 
with  it?'  went  in  and  spent  two-thirds  of 
my  last  remaining  worldly  wealth  in  its 
'  purchase;"  or,  as  Mr.  Pritchard  puts  it, 
"  Like  Moses  with  the  green  spectacles,  he 
forthwith  purchased  a  camera  with  his 
available  cash,  about  the  most  useless  thing 
he  could  possibly  buy,  without  chemicals 
and  other  necessaries  for  the  taking  of  pho- 
tographs." 

Poor  Walter  Woodbury !  only  £2  in  his 
pocket,  and  a  superfluous  camera  on  his 
back  !  But,  no  matter ;  at  least  he  is  "  off  " 
with  the  new  love,  and  "on"  again  with 
the  old  ;  once  more  the  lovers  are  joined,  for 
no  man  henceforth  to  put  asunder.  For 
some  time  it  is  uphill  work.  Walter  tries 
his  hand  at  everything,  and  his  camera  at 
nothing,  rubbing  the  latter  no  doubt  care- 
fully the  while,  and  keeping  it  against  the 
day  when  the  sun  shall  shine.  He  becomes 
successively  bullock-driver,  cook,  paper- 
hanger,  writer  of  tickets,  surveyor's  laborer 
— everything,  in  short,  by  starts,  and  noth- 
ing long.  Cuts  down  trees  with  all  the 
vigor  ol  Gladstone,  splits  them  up  into  pegs, 
and  helps  to  lay  out  the  town  of  Ballarat ; 
failing  in  his  endeavor  to  break  stones  sim- 
ply from  the  fact  that  there  are  so  many 
clergymen's  sons  and  Oxford  graduates  who 
had  prior  claims.  To  one  thing,  and  one 
thing  only,  is  he  constant.  In  all  his  wan- 
derings his  faithful  camera  "still  bears  him 
company."  "Even  in  the  bullock  cart, 
which  for  a  time  was  my  only  home,  my 
old  love,  my  camera,  accompanied  me  ;  and 
I  often  regretted,  when  surveying  some  of 
the  untrodden  wild  spots  which  we  had  to 
go  through,  that  I  had  not  got  the  '  chemi- 
cals and  other  necessaries.'  " 

At  last  came  the  proverbial  turning  in  the 
lane.  His  new  position  (draughtsman  in 
the  engineering  department  of  the  water- 
works at  Melbourne)  gave  him  plenty  of 
spare  time,  some  of  which  he  devoted  to  the 
procuring  of  the  "other  necessaries,"  and 
the  rest  to  his  no  longer  barren  camera. 

The   hour   has  come   and    the   man.     A 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


347 


timely  exhibition  is  held  in  Melbourne. 
Walter  Woodbury,  needless  to  say,  "amuses 
himself"  by  taking  views  of  the  building 
while  it  is  in  progress.  The  committee  see 
the  views  and  appreciate  (let  us  hail  them 
as  amateur  photographers  and  brothers !). 
Walter  Woodbury  is  invited  to  take  a  small 
view  of  the  completed  building,  to  be  sent 
to  England  that  a  design  for  the  medal  may 
be  made  from  it.      Ve?iit,  vidit,  vicit. 

"Up  to  this  time,"  he  writes,  "I  was 
still  an  amateur,  but  had  a  great  run  on  me 
to  take  portraits  of  the  heads  and  employes 
of  the  building,  until  some  one,  wiser  than 
myself,  one  day  suggested  that  I  was  spend- 
ing all  my  little  earnings  in  buying  chemi- 
cals and  glass  without  any  remuneration  for 
myself,  and  that  I  ought,  at  least,  not  to  be 
the  loser."  Generous  Woodbury!  always, 
to  the  very  last,  willing  to  let  others  reap 
where  he  had  sowed.  "He  was  full  of 
ideas,"  says  a  friend,  "  for  the  improvement 
of  apparatus.  These  he  did  not  trouble  to 
carry  into  effect,  but  gave  them  away  freely 
to  others,  who  have  adopted  them."  Sic  vos 
non  vobis  mellificatis,  apes. 

"  From  that  day,"  he  remarks,  "  I  ceased 
to  be  an  amateur  photographer.  I  have, 
while  I  write,  the  relief  view  of  the  Exhi- 
bition Building  in  the  form  of  a  medal, 
awarded  to  me  for  a  series  of  collodion  views 
(taken  of  the  principal  buildings  of  Mel- 
bourne) in  the  year  1854,  while  I  was  still 
an  amateur,  and  this  I  shall  always  value 
more  than  all  others  I  have  since  obtained, 
even  the  grand  gold  medal  of  Moscow." 

Our  photographer  may  have  once  suffered 
from  an  attack  of  gold  fever — at  least  he  is 
now  completely  cured ! 

By  this  time  Walter  Woodbury  had  been 
for  some  four  or  five  vears  in  Australia  (he 
left  England  in  the  year  1851,  at  the  age  of 
seventeen),  and  has  gained  a  mastery  over 
the  details  of  his  craft.  He  now  starts  for 
"  fresh  woods  and  pastures  new,"  and  erects 
his  tent,  or  at  least  his  camera,  in  Java. 

Now,  as  it  is  in  Java,  that  according  to 
the  hymn  "  Every  prospect  pleases,  and  only 
man  is  vile,"  we  might  assume,  a  priori, 
that  some  things  existed  not  unworthy  of 
being  fixed  by  a  "  permanent  process,"  even 
had  we  not  the  result  of  Mr.  Woodbury's 
Java  labors  to   assure  us   of  the  fact.     In 


1859,  he  returned  to  England,  unfortunately 
somewhat  impaired  in  health,  but  with  a 
magnificent  set  of  Java  views,  subsequently 
purchased  by  Messrs.  Negretti  &  Zambra, 
and  by  them  published,  in  part,  as  stereo- 
scopic slides. 

In  1860  he  returned  to  Java,  and  settled 
in  the  capital,  Batavia.  Here,  in  spite  of 
enormous  difficulties  of  climate  with  which 
he  had  to  contend, _he  established  his  reputa- 
tion and  gained  unequivocal  success.  In  con- 
nection with  a  Mr.  Page,  he  established  a 
firm,  which  still  flourishes,  and  the  name  of 
"  Woodbury  &  Page  "  was  known  through- 
out the  East.  Unfortunately,  his  health  at 
last  gave  way,  but  he  returned  to  Europe 
with  three  good  things,  money,  reputation, 
and  a  wife.  The  latter,  a  Dutch  Indian 
lady,  married  in  1862. 

In  a  recent  number  (March  20,  1885),  we 
have  alluded  to  Mr.  Woodbury's  labors  from 
1864  onwards.  From  1864  to  1884  Mr.  Wood- 
bury took  out  no  less  than  twenty  patents  ; 
some,  of  course,  dealing  with  the  produc- 
tion of  surfaces  in  relief,  and  printing  from 
metal  intaglios,  others  for  producing  de- 
signs on  wood,  paper,  metal,  cloth,  etc.  etc. ; 
and  a  series  relating  to  improvements  in 
optical  lanterns,  stereoscopes,  kaleidoscopes, 
barometers,  hygrometers,  and  photographic 
apparatus.  In  the  course  of  this  period  he 
contributed  to  the  English  Mechanic  an  ex- 
haustive series  of  papers  on  the  various 
scientific  experiments  which  could  be  shown 
in  the  optical  lantern ;  and  these  articles  were 
subsequently  republished  under  the  title  of 
Science  at  Home.  His  contributions  to 
the  photographic  journals  and  year-books 
have  been  numerous,  and  a  correspondence 
he  entered  into  with  Professor  Tyndal  was 
published  by  that  gentleman  in  the  columns 
of  Nature.  Mr  Woodbury  also  edited,  illus- 
trated, and  published  a  work  containing  a 
series  of  views  from  all  parts  of  the  world, 
entitled  Treasure  Spots  of  the  World.  Lastly, 
we  must  not  forget  that  he  was  the  pioneer 
of  balloon  photography. 

The  master  invention  which  will  always 
be  associated  with'the  name  of  Woodbury 
is,  of  course,  the  permanent  printing  pro- 
cess which  bears  his  name  ;  and,  as  to  many 
of  our  readers,  its  details  are  probably  un- 
known,  we  venture   to   give  them   in  the 


348 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


words  of  one  of  his  many  friends  and  ad- 
mirers. He  had  himself  promised  us  a 
description  from  his  own  pen,  a  promise 
which,  alas  !  he  did  not  live  to  fulfil. 

"  First  of  all,  an  ordinary  negative  is  re- 
quired, and  the  better  the  negative  the  bet- 
ter the  results  will  be.  It  should  be  brilliant 
and  transparent,  either  moderately  dense  or 
full  dense,  while  even  a  thin  one  will  give 
excellent  results.  Fog  is  fatal  to  good  re- 
sults, whatever  the  density,  just  as  it  is  for 
all  processes  except  albumenized  paper. 

"  Behind  this  negative  in  an  ordinary 
pressure  frame  is  exposed  to  light  a  film  of 
gelatine  impregnated  with  potassium  bi- 
chromate, which  has  then  the  property  of 
becoming  insoluble  to  a  greater  or  less  depth, 
according  to  the  amount  of  light  which  has 
fallen  upon  it.  This  is  also  the  basis  of  the 
carbon  or  autotype  process.  The  picture  is 
formed  by  washing  away  in  hot  water  the 
gelatine  which  has  been  protected  from  the 
light  by  the  negative,  leaving  the  insoluble 
gelatine  on  some  support.  This  fragile  gela- 
tine picture  is  in  relief — that  is,  the  deep 
shadows  have  an  appreciable  thickness, 
probably  about  the  ^-A^th  of  an  inch,  while 
all  the  half-tones  are  represented  by  corres- 
ponding fractions  of  that  thickness,  while  of 
course  in  the  whites  of  the  picture  there  is 
no  gelatine  left.  Hence  the  reason  for  a 
support ;  in  this  case  it  is  a  film  of  collodion 
which  holds  the  severa  parts  together.  In 
a  carbon  print  or  autotype  the  paper  serves 
the  same  purpose. 

"The  finished  gelatine  picture  is  now 
called  a  'relief,'  and  serves  as  a  matrix  to 
produce  the  printing  blocks.  These  are 
made  by  pressure.  The  relief  is  laid  on  a 
perfectly  true  steel  plate,  a  sheet  of  lead  laid 
upon  it,  and  subjected  to  a  pressure  of  at 
least  four  tons  to  the  square  inch  of  surface  ; 
even  more  pressure  is  desirable.  If  the 
operation  has  been  skilfully  performed,  the 
result  is  an  intaglio  plate,  a  faithful  repro- 
duction of  the  relief,  and  this  plate  is  capa- 
ble of  giving  a  very  large  number  of  prints ; 
while,  strange  to  say,  the  delicate  gelatine 
relief  is,  or  should  be,  totally  uninjured,  and 
capable  of  yielding  an  indefinite  number  of 
intaglio  plates  or  '  moulds.' 

"  It  will  be  seen  that  if  this  mould  is^>er- 
fectly  ti-ue,  and  it  is  exactly  fitted  up  with  a 


transparent  colored  pigment,  the  resulting 
cast  from  this  mould  will  be  a  perfect  pic- 
ture. The  printing,  therefore,  demands  a 
succession  of  perfectly  true  and  parallel  sur- 
faces ;  the  steel  plate  must  be  true,  the 
'mould'  must  be  true,  the  printing  press 
must  be  true,  even  the  paper  must  be  true. 
If  there  is  the  slightest  inequality  in  it, 
every  little  hollow  will  be  filled  up  with 
color,  and  the  picture  spoilt." 

Think  now,  reader,  of  the  labor  involved 
in  working  out  such  a  process.  Eemember 
that  an  error  of  planimetry  of  the  y^^th  of 
an  inch  will  infallibly  make  a  shadow  of  a 
quarter  the  depth  of  the  deepest  shadow  in 
the  picture,  and  you  will  hardly  wonder 
that  Mr.  Woodbury  had  exhausted  all  his 
resources  by  the  time  he  had  approximately 
conquered  the  principal  difficulties,  and  that 
the  six  or  seven  years  spent  in  bringing  the 
process  to  a  workable  state  were  years  of 
unremitting  labor  and  expense. 

It  is  on  account  of  these  great  difficulties 
that  so  few  people  have  succeeded  in  work- 
ing the  Woodbury  process  satisfactorily, 
and  so  many  have  failed.  The  marvel  is 
that  the  difficulties  should  have  been  over- 
come at  all. 

The  Woodbury  process  is  still  in  its  in- 
fancy. It  is  not  twenty-one  till  the  24th  of 
this  month,  and  is  still  capable  of  great  ex- 
pansion. The  results  produced  by  it  are,  in 
innumerable  cases,  infinitely  superior  to 
silver  prints  from  the  same  negatives  ;  with 
the  further  advantage  of  absolute  perma- 
nency, and  perfect  regularity  of  depth  and 
tone. 

To  the  money  troubles  which  cast  a  cloud 
over  his  later  years  we  will  not  allude  further 
than  by  saying  that,  such  as  they  were,  they 
were  manfully  borne.  He  is  now  beyond 
the  reach  of  sorrow  and  sighing. — Amateur 
Photographer. 


DEVELOPMENT. 


BY  THOMAS  PRAY,  JR., 
One  of  the  plate  busters. 
There  is  no  use,  in  this  mundane  sphere, 
for  any  rule  to  work  by.  Go  it  blind ; 
guess  at  quantities,  guess  at  exposure,  and 
then,  when  it  has  been  slop  work  all  the 
way  through  of  the  most  outrageous  kind, 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


349 


and  the  development  has  turned  out  some 
ghosts,  or  black  plates,  lie  back  and  swear 
about  the  blamed  old  plates.  No  exag- 
geration, reader.  This  is  the  way  many  a 
man  works,  and  why  ?  Because  some  of 
the  platemakers  give  the  most  outrageous 
messes,  and  style  them  developers.  Then 
they,  these  same  platemakers,  send  out  cir- 
culars, and  tell  you  "  how  to  do  it;"  and 
the  directions  are  definite(?)  And  so  be- 
tween the  happy-go-merry  amateurs  who 
use  three  different  brands  of  plates  each 
week,  and  four  different  lenses  and  several 
developers,  and  the  far-fetched  stories  of 
quick  lenses,  that  cover  a  plate  all  up  with 
a  snap  shutter,  etc.  (see  the  circulars),  the 
boys  have  lots  of  fun,  and  the  printers 
have  everything  in  the  shape  of  a  negative 
— from  a  starved  ghost  (almost  clean  glass) 
to  a  negative  so  dense  that  it  wouldn't  print 
in  a  July  sun  on  bromo-gelatine  paper  in 
four  weeks — brought  to  them  to  "doctor," 
that  "my  photographs"  can  be  shown  to 
admiring  friends,  etc. 

The  whys  and  wherefores  are  not  so  far 
to  seek  but  that  they  can  be  found  on  the 
same  day.  Some  of  the  developers  are 
chemical  curiosities,  or  would  be,  if  any 
man  could  ever  get  the  mess  to  stay  in  so- 
lution. The  solutions  of  "  pyro  "  are,  in- 
deed, fearfully  and  wonderfully  made,  but 
with  a  pertinacity  worthy  of  emulation,  it 
refuses  to  amalgamate,  dissolve,  stay  so, 
and  if  the  immature  commences  all  right, 
and  does  not  guess  at  his  exposure,  he  gets 
a  fair  negative  or  two,  and  in  a  week  or  so 
after  he  "drops  "  on  some  view  and  goes 
home  to  behold  a  charming  example  of  a 
thin  negative,  never  dreaming  that  his  pyro 
compound  solution,  minus  bromide  of  brains, 
is  as  uncertain  as  a  saturated  solution  of  any- 
thing made  up  from  two  different  lots  of 
chemicals.  Having  made  his  exposure, 
and  supposed  it  is  normal,  he  proceeds  to 
mix  a  "  normal  developer "  see  circular. 
The  image  commences  to  come  too  fast;  he 
slaps  in  plenty  of  bromide,  and  it  calls  a 
halt,  and  he  gets  an  uncertain  amount  of 
density,  a  marvellous  lack  of  detail,  and  a 
most  beautiful  and  conspicuously  charming 
lack  of  harmony  or  gradation.  The  de- 
veloper is  then  poured  down  the  spout  and 
a  new  one  made   up  for   the   other  plate. 


Having  profitted  by  his  experjence(?)  he 
now  commences  with  less  pyro  and  alkali, 
and  all  comes  up  pretty  well.  But  some- 
how it  soon  commences  to  drag,  and  when 
it  has  come  to  a  certain  point  it  refuses  to 
get  denser,  or  to  give  out  the  detail.  More 
pyro,  and  it  gets  worse  ;  more  soda,  and  it 
looks  better;  and  finally  it  goes  through 
the  alum  and  hypo,  and  comes  out  a  ghost 
— past  all  patching,  and  our  immature  then 
goes  for  the  platemaker  more  vigorously 
than  politely. 

We  have  solutions  which  contain  quite 
too  much  alkali,  and  sometimes,  if  we  follow 
the  exact  formula,  we  find  a  superabundance 
of  material  which  lies  harmlessly  in  the 
bottom  of  the  bottle,  undissolved  and  use- 
less. Some  of  the  pyro  solutions  are  charm- 
ing instances  of  chemical  ignorance,  if  not 
comical  in  their  effects,  and  many  of  our 
platemakers  seem  to  ignore  the  fact  that 
pyro  cannot  be  kept  in  any  solution,  so  far 
as  is  yet  known,  and  retain  its  power  to  de- 
velop ;  and  if  it  could  do  so,  bromide  of  any 
kind  should  not  be  added  to  pyro  solution. 
If  the  most  perfect  results  are  desired  or  ex- 
pected, and  if  the  positively  best  results  are 
desired,  then  no  bromide  of  any  kind  should 
be  put  in  the  developer  in  any  form.  But 
it  is  so  exceedingly  difficult  to  give  exactly 
the  correct  exposure  that  some  bromide  is 
necessary;  and  a  better  way  is  to  dilute 
your  developer,  slightly,  and  make  use  of 
a  little  more  time  in  development,  gaining 
density  not  at  the  expense  of  detail  or  har- 
mony. But  here  enters  another  element, 
and  one  which  accounts  for  very  many 
failures  or  perplexities  of  both  professional 
or  immature  photographer.  Professor  H. 
J.  Newton  has  said  that  in  some  of  the  de- 
velopers no  one  of  the  bromides  was  allow- 
able except  the  bromide  of  soda,  and  my 
own  experience  has  entirely  proved  to  my 
own  satisfaction  that  Mr.  Newton  is  theo- 
retically and  practically  correct,  and  the 
resultant  proves  it  by  a  superlatively  ex- 
cellent result  whenever  a  near  approach  to 
correct  exposure  has  not  been  made,  and 
bromide  has  become  necessary  to  maintain 
correct  action  upon  the  sensitive  surface. 
And  in  this  connection  it  may  be  proper  to 
say  that  Professor  Newton  has  fully  demon- 
strated that  the  use  of  bromide  in  the  solu- 


350 


THE   PHILADELPHIA    PHOTOGRAPHER. 


tion  of  pyro  necessitates  more  pyro  to  pro- 
duce the  same  result,  and  also,  that  pyro 
kept  in  solution  for  a  few  weeks  decreases 
in  activity  on  the  sensitive  film  as  5  to  2, 
thus  requiring  five  grains  of  a  two  months' 
old  solution  to  do  what  2  grains  is  supposed 
to  do.  Now,  is  there  any  wonder  that  fail- 
ures are  the  result.  But  these  facts  are  not 
in  every  case  generally  known,  and  there 
seems  to  be  a  predilection,  in  many  cases,  for 
the  platemaker  or  demonstrator  to  use  some 
especial  compound  as  a  developer,  or  some 
concentration,  or  other  style,  which,  in  all 
time  to  come,  will,  and  must  be,  subject  to 
chemical  changes  that  seem  not  to  be  over- 
come without  the  introduction  of  discordant 
elements  and  the  ruin  of  the  solution  as  a 
developer. 

Experiment  sometimes  demonstrates  the 
fact  that  developing  does  not  of  necessity 
follow  cast-iron  laws ;  but  if  the  emulsion 
has  been  carefully  put  on  the  plate,  and  the 
exposure  in  some  proportion  is  correct,  that 
some  other  fellow's  developer  will  make  just 
as  fine  if  not  a  better  negative  than  the 
compound  concentrated  anti-commonsense, 
so  much  recommended. 

The  writer  has  been  patiently  over  a 
very  great  number  of  these  so-called  de- 
velopers—  and  with  different  plates  —  and 
for  many  months  could  develop  by  any  one 
of  a  dozen  different — always  ready — ones 
as  occasion  required,  or  that  fancy  dictated, 
and  as  a  result  has  thrown  all  but  the  pyro 
potash  and  pyro  soda  (pyro  not  in  solution) 
down  the  spout,  and  has  adopted  Professor 
Newton's  standard  as  the  most  perfect  in  its 
every  requirement,  and  the  nearest  to  a  real 
scientific  developer  of  any  so  far  found  or 
used;  and  it  has  the  additional  advantage 
of  being  very  clean  to  handle,  and  of  giving 
the  most  beautiful  effects  ;  and  it  brings  out 
more  detail  with  same  exposure  and  plate, 
in  some  cases  already  tried,  than  the  de- 
veloper recommended  by  the  maker  of  plates. 
The  writer  has  used  it  on  Stanley,  Cramer's 
blue  and  yellow  label,  Carbutt's  A.  and  B. 
and  Special,  Bipley's,  and  one  or  two  others. 
With  Newton's  standard,  bromide  of  soda 
must  be  used ;  and  it  is  used  when  neces- 
sary in  a  solution  fifteen  grains  per  ounce, 
added  by  pouring  off  the  developer  from  the 
plate  upon  the  bromide  solution  in  the  grad- 


uate so  as  to  mix  thoroughly ;  and  all  this 
can  be  done  in  six  to  ten  seconds  if  provision 
has  been  made.  .For  underexposure  dilute 
and  wait ;  using  bromide  of  patience  in- 
stead of  cyanide  of  haste.  Some  of  the 
snap-shutters  may  expect  to  develop  a  plate 
in  four  seconds,  and  finish  off  a  print  from 
the  negative  in  the  same  unreasonable  way, 
but  such  impossibilities  are  unattainable. 

One  more  thing  and  we  are  done:  com- 
mence the  use  of  dry  pyro  if  a  lot  of  plates 
are  to  be  developed ;  a  solution  of  2  or  3 
grains  per  drachm  can  be  made, — or  of  any 
multiple  desired, — and  then,  with  little 
trouble,  any  amount  needed  can  be  used 
quickly,  cleanly,  and  surely. 

As  it  may  not  have  been  remembered,  or 
of  ready  reference,  we  give  the  formula  just 
as  Prof.  Newton  grave  it : 


No.  1. 

Water,         .... 

32  ounces. 

Yellow  Prussiate  of  Potash, 

3       " 

Carbonate  of  Soda,    . 

3      " 

Carbonate  of  Potash, 

3       " 

Mix  and  filter. 

No.  2. 

Water,         .... 

32  ounces. 

Sulphite  of  Soda, 

3       " 

Mix. 

In  both  solutions  the  troy  ounce  of  480 
grains  is  meant — not  the  avoirdupois  ounce 
of  437J  grains. 

Normal  Developer. 
No.  1,     .         .2  drachms  or  \  ounce. 
No.  2,     .         .14  "  If      " 

Which  makes  up  two  ounces  or  sixteen 
drachms,  or  No.  1  one  part;  No.  2  seven 
parts.  Now,  when  No.  1  and  No.  2  are 
mixed  add  two  grains  of  dry  pyro  for  each 
one  ounce  of  mixed  developer. 

This  is  normal  developer  for  somewhere 
near  normal  exposures  ;  if  you  have  a  lot  of 
guesswork  plates  to  develop,  make  up  your 
pyro  in  No.  2  and  flow  it  over  the  plate, 
and  then  add  the  No.  1,  or  alkali  (?),  in 
small  quantities  until  sufficient  detail  and 
harmony  shall  come  out. 

Overexposure  can  be  cured  by  use  of  bro- 
mide of  soda  solution  previously  mentioned, 
or  by  dilution  of  developer,  to  an  extent 
that  will  reduce  it  to  a  proportionate  strength 


THE   PHILADELPHIA    PHOTOGRAPHER. 


351 


with  exposure,  but  on  no  account  use  either 
bromide  of  ammonia  or  potash  with  this 
developer  ;  you  will  be  "  left  "  if  you  do. 

Underexposure,  so  far  as  it  can  be  cured, 
can  be  handled  by  increase  of  amount  of 
No.  1  to  several  times  normal. 

This  developer  will  not  bring  out  the 
object  if  a  plate  has  been  exposed  x^o-  the 
proper  time ;  nor  will  it  make  so  harmo- 
nious a  negative  in  a  plate  that  has  had 
one  thousand  times  normal  exposure  ;  al- 
though such  an  absurd  comparison  was 
made  by  people  pretending  to  be  photog- 
raphers, at  the  last  Professional  Photo- 
graphic Convention,  in  1885,  not  with  rela- 
tion to  this  developer,  but  to  exposure ;  and 
we  have  seen  one  of  the  participants  in  that 
very  debate  send  several  negatives  clear  up 
"salt  river"  in  development  since  that  de- 
bate, and  we  can  produce  one  of  the  most 
reliable  chemists  in  the  country  to  corrobo- 
rate our  statement :  "  he  did  not  make  any 
provision  for  overexposure." 

Lastly,  bromide  of  brains  is  one  of  the 
most  valuable,  least  used,  of  all  the  essen- 
tial requisites  for  an  immature  photog- 
rapher. Our  immaculate  full-fledged  pro- 
fessionals, many  of  them,  look  down  on  us 
in  disdain  ;  but  it  does  not  amount  to  much, 
for  they  are  not  one  bit  better  than  we  are, 
and  they  do  as  much  guesswork  as  we  do ; 
and  after  all,  we  are  all  and  only  plate 
busters. 


THE  SUN  AT  WORK. 

HOTOGKA- 

PHY  has  of 
late  years  de- 
veloped into 
one  of  the 
most  potent 
factors  in  the 
progressofthe 
graphic  arts. 
The  chemical 
action  of  light 
is  replacing  the  laborious  tool  handling  of 
the  graver.  Its  practical  application  has 
been  attempted  with  varying  degrees  of  suc- 
cess ever  since  the  discovery  of  the  chemical 
action  of  the  actinic  rays  of  sunlight.  It  is 
no  longer  a  scientific  novelty,  and  its  success 


as  a  commercial  product  already  attained 
gives  large  promise  of  the  future. 

The  Levytype  Company,  with  its  three 
fully  equipped  establishments  in  Philadel- 
phia, Chicago,  and  Cincinnati,  takes  the 
leading  rank  in  the  United  States  for  this 
work.  It  was  established  by  Louis  E.  Levy, 
who,  with  David  Bachrach,  Jr.,  of  Balti- 
more, successfully  experimented  upon  and 
developed  the  process  for  which  they  secured 
the  first  American  patent  of  this  class. 

Unless  absolute  accuracy  is  required  in 
the  reproduction,  the  photograph,  print,  or 
the  article  of  which  the  fac  simile  is  desired 
in  metal,  is  first  taken  to  the  studio,  where 


Drafting  Room. 

a  half  dozen  artists  are  seated  at  tables  and 
amidst  the  paraphernalia  of  their  profession, 
in  the  arrangement  of  which  the  conven- 
tionalities are  discarded  and  the  picturesque 
is  subordinated  to  the  practical.  With  the 
photograph  as  a  guide  the  draughtsman 
draws  the  outlines  in  the  deepest  black  lines 
upon  the  most  glaring  white  surface.  When 
a  more  mechanical  reproduction,  without 
heightened  artistic  effect,  is  desired,  the 
article  or  picture  is  rephotographed,  twice 
the  size  of  the  plate  desired,  with  specially 
prepared  chemicals  on  specially  prepared 
paper.  The  lines  of  the  photograph  are 
traced  in  black  upon  the  photograph  itself. 
The  picture  so  prepared  is  subject  to  a  bleach- 
ing process,  which  removes  all  traces  of  the 
photographer's  art,  and  the  artist's  pen  and 
ink  lines  stand  out  in  bold  relief  upon  a  per- 
fectly white  background. 

The  work  thus  prepared  is  now  read}r  to 
be  returned  to  the  photographer,  whose  de- 
partment is  known  as  the  light-room.   Upon 


352 


THE    PHILADELPHIA    PHOTOGBAPHEK. 


the  perfection  of  the  work  done  now  depends 
the  success  of  the  whole  process. 

The  ordinary  photographic  apparatus  is 
used,  but  the  vibrations  of  the  building, 
however  slight,  are  sufficient  to  blur  lines 
whose  sharpness  of  definition  is  the  crowning- 
point  in  the  successful  picture.  This  diffi- 
culty has  been  overcome  by  placing  the 
camera  and  the  frame  for  holding  the  object 
upon  a  suspended  table.     The  vibrations  are 


Copying  Table. 

thus  corrected,  and  every  motion  is  trans- 
mitted equally  to  the  camera  and  the  picture 
to  be  photographed.  If  success  attends  the 
efforts  of  the  operator,  the  negative  secured 
shows  the  lines  of  the  picture  transparent  on 
an  opaque  ground,  and  as  clearly  defined  as 
if  cut  out  of  the  background  with  a  graver's 
tool.  In  this  negative  the  picture  has  been 
reduced  to  the  size  desired  for  the  finished 
plate,  and  the  lines  are  found  to  be  refined 
in  proportion. 

In  the  meantime,  in  another  department 
has  been  prepared  a  base  of  plate-glass  upon 
which  has  been  coated  a  thin  film  of  chrome- 
gelatine,  which  is  simply  a  mixture  of 
bichromate  of  potash  and  gelatine.  This, 
when  dry,  is  sensitive  to  light  and  takes  the 
place  in  this  process  of  the  sensitized  paper 
of  the  photographer.  Before  exposure  to 
light  the  gelatine  is       ly  partially  or  not  at 

'  'duble  in  water.  Over  this  gelatinized 
plate  is  carefully  placed  the  negative,  and 
the  two  are  firmly  clasped  together. 

These  two  plates,  with  as  many  other 
similar  pairs  as  are  ready  for  this  portion  of 
the  process,  are  placed  in  the  heliostat, 
which  is  so  arranged  as  to  secure  an  ex- 
posure to  the  sun's  rays  which  allows  them 
to  impinge  upon  the  exposed  negative  at 
right  angles.     The  action  of  the  sun  is  so  to 


tan  the  gelatine  film  that  it  is  incapable  of 
combining  with  or  taking  up  water  at  all. 
This  part  of  the  work  is  carried  on  day  and 
night.  Cloudy  days  do  not  effect  a  stoppage 
or  delay.  On  such  occasions  the  rays  of  the 
sun   are   replaced    by   the    powerful    light 


The  Heliostat. 

from  a  5000  candle-power  Thompson-Hous- 
ton electric  lamp,  whose  arc  is  three-eighths 
of  an  inch.  The  lamp  has  been  especially 
constructed  for  this  purpose,  and  is  operated 
by  an  engine  on  the  premises. 

After  the  gelatinized  plate  has  had  its 
tanning,  it  is  passed  through  a  series  of 
chemical  baths,  in  which  the  unprotected 
gelatine  swells  and  leaves  the  picture  sunken 
in  it,  a  perfect  matrix.  Into  this  is  poured 
a  composition  whose  base  is  gutta-percha, 
which  is  allowed  to  stand  and  harden. 
When  it  is  taken  out  of  the  gelatine  mould 
the  picture  appears  upon  its  surface  with  the 
lines  raised.  From  this  out  the  process  is 
simply  that  of  stereotyping. 

This  gutta-percha  plate  is  used  in  making 
a  cast  or  mould  of  plaster  of  Paris.  The 
plaster-of-Paris  plate  goes  through  the 
stereotyping  manipulations  in  pans  con- 
structed to  meet  the  special  requirements  of 
the  work.  When  taken  out  of  these  moulds 
the  type-metal  plates  are  slightly  more  than 
one-eighth  of  an  inch  in  thickness,  and  are 
taken  to  the  finishing-room.  Here  the 
backs  are  levelled  and  planed  down   to  a 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


353 


uniform  thickness  of  an  eighth  of  an  inch. 
Those  parts  of  the  plates  which  lie  outside 
the  lines  of  the  picture  are  cut  out  and  deep- 
ened by  a  "routing"  machine,  in  order  to 
remove  the  base  of  the  plate  as  far  as  possible 
from  the  printing  rollers  which  put  the  ink 
on  the  raised  lines  of  the  picture. 


Stereotype  Furnace. 

From  the  routing  machine  the  plates  are 
taken  and  fastened  to  wooden  or  metal 
blocks,  which  raises  the  surface  of  the  pic- 
tures to  the  height  of  printing  type.  The 
wooden  blocks  are  used  when  the  cuts  are 
intended  for  ordinary  commercial  printing, 
but  when  thousands  of  impressions  are  to  be 
taken,  as  in  the  illustrations  of  newspapers, 
the  plates  are  mounted  upon  metal. 


PROTECTING  PHOTOGRAPHIC 
MATERIALS  FROM  AIR. 


BY  W.  H.  HARRISON. 


The  published  instructions  issued  by  the 
Eastman  Company  for  the  preparation  of 
the  developer  for  use  with  their  negative 
paper,  raise  the  question  in  the  mind  of  the- 
reader  why  the  solution  does  not  deteriorate 
in  a  very  short  time ;  yet  I  was  told  that 
some  of  it,  of  light  color,  which  I  saw  in 
use  on  their  premises,  had  been  prepared  a 
fortnight  before.  The  official  formula  is: 
"Warm  water,  sixteen  ounces;  sulphite 
sodium  crystals,  pure,  half  a  pound  ;  allow 
to  cool,  and  add  one  ounce  of  pyrogallic 
acid,  and  then  a  quarter  of  a  pound  of  car- 
bonate of  soda  (not  bicarbonate  of  soda). 


For  use,  dilute  one  part  of  stock  solution 
with  four  of  water."  Thus  but  one  solution 
is  used  for  developing  purposes,  except  in 
cases  of  over-exposure  when  a  little  bromide 
of  potassium  is  added.  Here,  then,  is  a 
highly  alkaline  developer  which  keeps,  so 
I  asked  the  operator  why  it  did  not  blacken 
and  decompose  rapidly.  He  replied  that  it 
depended  upon  using  water  which  had  been 
boiled  ;  if  unboiled  water  with  the  normal 
proportion  of  air  in  it  were  substituted,  the 
developer  would  blacken  rapidly,  and  go  on 
blackening,  he  said,  after  it  had  absorbed 
all  the  oxygen  of  the  air  held  in  solution  in 
the  first  instance,  by  the  water.  The  sul- 
phite of  soda  must  also  be  very  pure ;  in- 
deed, the  photographic  merits  of  this  salt 
never  comes  out  unless  it  is  pure. 

The  foregoing  facts  seem  to  show  that 
there  are  great  advantages  in  using  boiled 
water  for  pyrogallol  stock  solutions,  and 
this,  combined  with  M.  Audra's  system  of 
development,  will  conduce  to  comfort  and 
efficiency  in  the  future  use  of  this  unstable 
organic  absorbent  of  oxygen.  Boiling  for 
a  few  minutes  does  not  get  rid  of  the  whole 
of  the  air  and  traces  of  other  gases  dissolved 
in  water,  and  perhaps  the  properties  of 
water  properly  freed  from  dissolving  gases 
might  be  worth  trying  in  photography. 

Rain  water,  after  a  prolonged  downpour 
to  clear  away  the  floating  dirt  in  the  atmos- 
phere, is  the  purest  water  naturally  avail- 
able, it  having  been  distilled  by  the  heat  of 
the  sun  ;  but  every  hundred  cubic  inches  of 
such  water  contains  about  two  and  a  half 
cubic  inches  of  air  and  of  gases  mixed  in 
small  proportion  with  the  said  air.  Water 
freshly  distilled  is  not  free  from  air.  To  get 
rid  of  this  air,  it  is  necessary  to  steadily  boil 
the  water  for  not  less  than  one  hour,  with 
brisk  boiling  for  a  few  minutes  at  the  close, 
to  drive  all  the  air  out  of  the  neck  of  the 
flask,  when  it  is  intended  to  close  the  latter, 
which  should  be  strong  enough  to  bear  the 
pressure  of  the  external  atmosphere,  when, 
by  cooling,  a  comparative  vacuum  is  pro- 
duced in  the  upper  part  of  the  vessel. 

The  remarkable  instrument,  the  water- 
hammer,  is  made  by  taking  a  V-shaped 
glass  tube,  say  with  each  of  its  legs  eighteen 
inches  long,  and  an  inch  in  diameter;  this 
tube   is   closed   at   one   end.      Thoroughly 


354 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


boiled  water  is  made  to  fill  the  tube,  and  is 
then  boiled  nearly  half  away  in  the  tube 
itself;  when  the  ebullition  is  at  its  briskest 
the  open  end  of  the  tube  is  softened  by  heat, 
the  tube  is  then  withdrawn  from  the  flame 
which  produces  the  ebullition,  and  the 
moment  that  ebullition  ceases  the  softened 
opening  of  the  tube  is  closed.  Thus  enough 
well-boiled  water  is  left  in  the  tube  to  com- 
pletely fill  one  of  its  legs,  and  about  one- 
fourth  of  the  other  leg.  If  the  water-ham- 
mer be  turned  bottom  upwards  thus  A, when 
one  of  its  legs  is  quite  full,  the  water  in  the 
other  leg  will  not  fall ;  it  refuses  to  obey  the 
law  of  gravity  unless  the  tube  be  tapped, 
and  when  the  water  is  made  to  fall  it  pro- 
duces a  somewhat  metallic  sound  like  one 
hard  solid  body  striking  another.  In  fact, 
air  in  water  acts  as  a  kind  of  elastic  spring, 
and  when  that  air  is  removed  the  particles 
of  the  water  lock  themselves  more  firmly 
together.  Thus  water  scientifically  boiled 
until  it  is  free  from  air  has  curious  proper- 
ties, and  whether  it  will  by  absorption  per- 
meate an  air-charged  gelatine  film  more 
rapidly  than  other  water,  or  whether  it  will 
exercise  any  influence  upon  the  delicately- 
balanced  phenomena  of  photographic  de- 
velopment, is  worth  trying. 

When  it  is  desired  to  protect  oxidizable 
aqueous  solutions  from  the  action  of  air, 
the  best  plan  is  to  take  advantage  of  the 
properties  of  the  paraffines,  for  paraffine, 
whether  solid  or  liquid,  will  effectually  ex- 
clude the  air  on  the  one  hand,  and  prevent 
evaporation  of  the  water  on  the  other.  Few 
chemical  substances  will  attack  it,  and 
among  those  which  do  so  are  none  likely  to 
be  used  in  photography.  So  proof  is  it 
against  damp,  that  the  late  Mr.  C.  F.  Varley 
adopted  it  for  making  his  electrical  con- 
densers for  working  the  Atlantic  and  other 
cables,  and  to  this  day  it  is  the  best  substance 
known  for  the  purpose  ;  it  is  also  a  splendid 
insulator,  which  is  why  the  cheap  mineral 
form  of  it,  the  residue  left  in  the  retort  in 
the  distillation  of  the  mineral  paraffine, 
ozokerit,  is  used  mixed  with  a  small  portion 
of  India  rubber,  for  a  cheap  insulating  coat- 
ing of  the  wires  employed  for  electric  light- 
ing purposes.  Some  photographers  already 
use  common  liquid  paraffine  upon  the  top  of 
their  stock  developer,  to  protect  it  from  the 


air,  for  then  it  is  safe  even  from  the  attacks 
of  the  air  inside  the  top  of  the  bottle.  A  de- 
vice has,  however,  to  be  called  into  play  to 
draw  off  some  of  the  developer  when  wanted; 
as  simple  a  plan  as  any  would  be  to  use  a 
little  glass  barrel  with  a  glass  tap,  and  cover 
the  developer  with  half  an  inch  in  depth  of 
liquid  paraffine.  The  tap  should  be  lubri- 
cated with  another  paraffine,  namely,  vase- 
line. 

The  imperfections  of  common  ground- 
glass  stoppers  as  a  means  of  excluding  air 
from  the  interior  of  bottles,  is  scarcely  suffi- 
ciently recognized.  Ground  glass  consists 
of  an  infinite  multitude  of  small  hills  and 
valleys;  consequently,  when  two  such  rough 
surfaces  are  laid  one  against  the  other,  plenty 
of  small  irregular  channels  exist,  through 
which  air  can  pass  between  the  pieces  of 
glass.  In  experimental  illustration  of  this, 
a  small  bottle  with  a  stopper  ground  to  fit 
in  the  ordinary  way,  or  even  finely  ground 
to  fit  the  neck  of  the  bottle  more  accurately, 
may  be  one-third  filled  with  bisulphide  of 
carbon.  The  bottle  should  then  be  placed 
in  a  basin  containing  cold  water,  enough  to 
cover  the  vertical  bottle  above  the  level  of 
its  stopper,  after  which  boiling  water  should 
be  added  from  time  to  time  to  the  cold  water 
in  the  basin,  to  slowly  raise  its  temperature 
and  that  of  the  bottle.  The  air  and  bisul- 
phide of  carbon  vapor  in  the  top  of  the 
bottle  tend  to  expand  as  the  heat  increases  ; 
as  their  pressure  increases,  they  force  their 
way  between  the  stopper  and  the  neck  of 
the  bottle,  and  emerge  into  -the  water  in 
lines  of  bubbles  and  globules.  The  stopper 
should  be  tied  down  to  the  neck  of  the  bottle 
with  string,  that  it  may  not  be  blown  out, 
and  a  very  small  bottle  should  be  used  and 
submitted  very  gradually  to  the  increases  of 
temperature  to  lessen  the  risk  of  its  bursting, 
small  bottles  being  stronger  than  large  ones 
in  proportion  to  their  size.  Very  little 
warmth  will  thus  prove  the  defective  nature 
of  common-stoppered  bottles,  and  an  in- 
crease of  heat  will  put  the  best  of  bottles  to 
a  severe  test.  There  is  considerable  gain  in 
security  by  substituting  the  best  class  of 
finely  ground  German  stoppered  bottles  for 
the  stoppered  bottles  in  ordinary  use  ;  but  in 
any  case  it  is  best  that  the  stopper  should 
be   lubricated.      I   have,    however,    a   fine 


THE    PHILADELPHIA    PHOTOGKAPHEE. 


355 


specimen  of  Signc-r  Cetti's  glass  grinding, 
consisting  of  a  stoppered  glass  vessel,  with 
a  smaller  stopper  carrying  a  tube,  and  pass- 
ing through  the  larger  one ;  despite  its 
double  stopper,  the  grinding  is  so  accurate 
that  a  good  vacuum  can  be  maintained  in 
the  bottle  for  a  great  length  of  time.  Al- 
terations in  temperature  exercise  a  pumping 
action  inside  common-stoppered  bottles;  the 
interior  air  or  vapor  expands  by  heat,  and 
contracts  by  cold,  thus  causing  currents 
backwards  and  forwards  along  the  space  be- 
tween the  stopper  and  the  neck  of  the  bottle, 
but  the  little  channels  being  so  very  small, 
the  pumping  action  is  much  retarded.  For 
many  purposes  a  good  cork  is  in  several  re- 
spects more  convenient  than  a  stopper  of  the 
common  type. 

Coming  now  to  the  question  of  the  best 
lubricants  for  stoppers,  the  paraffines  stand 
at  the  head  of  the  list  for  the  protection  of 
all  but  the  few  chemicals  which  attack  or 
dissolve  them,  their  affinities  being  of  the 
most  limited.  The  hardest  of  the  series, 
and  the  one  which  has  the  highest  melting 
point,  is  the  mineral  paraffine,  ozokerit; 
next  come  the  softer  paraffines,  produced  in 
the  destructive  distillation  of  vegetable 
matter,  and  which  can  be  obtained  with 
varying  degrees  of  hardness  ;  next  come 
vaseline  and  ozokerine,  which  are  of  the 
consistency  of  soft  grease,  and,  last  of  all, 
the  liquid  paraffines  are  available.  Vaseline 
and  ozokerine  are  the  best  substances  for 
lubricating  the  stoppers  of  bottles ;  should 
the  two  substances  for  some  purposes  not  be 
deemed  hard  enough,  by  mixing  with  them 
one  of  the  softer  solid  paraffines,  a  hydro- 
carbon paste  of  any  desired  consistency  can 
be  obtained.  The  smell  of  the  liquid  paraf- 
fines might  suggest  that  they  are  not  such 
very  inert  substances  after  all,  but  that  they 
are  in  somewhat  rapid  decomposition,  for 
the  smell  of  essential  oils,  or  the  essences  of 
flowers  is  due  to  the  oxidizing  action  going 
on;  perfectly  pure  turpentine,  oil  of  juniper, 
and  other  essential  oils  carefully  rectified 
out  of  contract  with  air,  have  no  smell 
whatever ;  they  begin  to  smell  when  an 
oxidizing  action  has  been  fairly  set  up.  Mr. 
Leopold  Field  informs  me  that  paraffine  oil 
has  no  smell  of  its  own,  the  smell  which 
accompanies  it  being  due  to  essential  oils 


and  impurities  it  contains  ;  traces  ot  sulphur 
often  contribute  to  the  bad  smell  of  paraf- 
fine. 

Of  the  two  paraffines  most  available  for 
our  purpose,  namely,  vaseline  and  ozokerine, 
the  former  is  the  more  homogeneous.  Ozo- 
kerine, when  first  distilled,  tends  to  separate 
into  solid  and  liquid  portions  ;  a  little  paraf- 
fine of  harder  consistency  is  consequently 
mixed  with  it,  and  it  forms  a  soft  waxy  yel- 
lowish mass.  Near  one  particular  tempera- 
ture in  the  distillation  of  crude  ozokerit,  a 
number  of  paraffines  come  over  almost 
together,  and  the  mixture  of  these  forms 
ozokerine.  It  consists  of  eighty-seven  per 
cent,  carbon,  and  thirteen  per  cent,  hydro- 
gen. Crude  ozokerit  itself  is  a  most  rare 
mineral,  its  source  of  supply  being  almost 
entirely  confined  to  one  country,  Austria, 
and  in  Austria  only  the  ozokerit  from  the 
Boryslaw  mine  is  good  for  much.  Its 
sources  of  supply  and  of  distribution  are  in 
the  hands  of  a  few  capitalists.  Gmelin 
states  that  a  soft  sticky  ozokerit  is  found  in 
Urpeth  coal  mine,  near  Newcastle.  Can 
any  Newcastle  reader  of  these  lines  give  any 
information  on  the  subject?  Gmelin  states 
that  this  Urpeth  product  melts  at  60°  C, 
and  that  it  contains  85.18  per  cent,  carbon 
and  14.06  per  cent  hydrogen. 

Vaseline  is  of  American  invention,  and 
the  information  of  a  chemical  nature  pub- 
lished about  it  by  its  London  agents  is 
meagre.  It  is  a  hydrocarbon  obtained 
from  a  crude  oil  of  offensive  smell,  found 
floating  on  the  borders  of  Lake  Seneca,  in 
the  western  part  of  New  York  State  ;  this 
oil  belongs  to  the  paraffine  series.  Instead 
of  submitting  it  to  destructive  distillation, 
Mr.  Kobert  A.  Chesebrough,  by  an  elabo- 
rate system  of  filtration,  succeeded  in  puri- 
fying it  "without  the  aid  of  any  chemical 
whatever,"  which  I  presume  means  that  he 
filtered  it  through  plenty  of  animal  charcoal, 
on  the  principle  on  which  sugar  is  purified 
in  sugar  refineries.  In  the  act  of  distilla- 
tion paraffines  are  liable  to  what  the  trade 
calls  "cracking;"  that  is  to  sajr,  breaking 
up  into  a  variety  of  hydrocarbons,  of  about 
the  same  melting  point,  and  the  necessarity 
different  method  of  preparation  may  explain 
the  difference  between  vaseline  and  ozoker- 
ine. 


356 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


The  carbonic  acid  contained  in  ordinary 
water  tends  to  the  injury  of  photographic 
prints  in  the  washing  stages.  Last  Tuesday 
night,  at  the  meeting  of  the  Photographic 
Society,  Mr.  W.  M.  Ashman  pointed  out 
the  injury  done  to  prints  by  washing  water 
containing  carbonate  of  lime,  especially 
when  particular  samples  of  paper  were 
used. 

Pure  carbonate  of  lime,  and  carbonate  of 
magnesia,  are  both  insoluble  in  pure  water, 
but  are  soluble  in  water  containing  carbonic 
acid  gas.  A  gallon  of  rain-water  usually 
contains  four  cubic  inches  of  nitrogen,  two 
cubic  inches  of  oxygen,  and  one  cubic  inch 
of  carbonic  acid.  The  latter  is  the  solvent 
of  the  chalk  and  limestone  rocks  ;  the  minute 
traces  of  carbonic  acid  in  water  carved  most 
of  the  beautiful  scenery  of  Derbyshire,  cut 
its  river  beds  deep  in  rocks  and  dissolved 
out  its  caverns,  carrying  off  in  weak  solution 
its  limestone  and  its  chalk,  to  injure  the 
prints  of  inoffensive  and  unsuspecting  pho- 
tographers living  lower  down  on  the  banks 
of  the  rivers.  Because  of  the  solvent  action 
of  carbonic  acid  in  water,  the  scenery  of  ex- 
tensive limestone  regions  is  always  beautiful ; 
the  lower  Valley  of  the  Wye,  about  the 
region  of  Tintern  Abbey,  is  a  good  illustra- 
tive case  in  point. 

The  way  water  companies  usually  soften 
chalk- water,  is  to  add  more  lime  to  it ;  the 
carbonic  acid  takes  this  up  to  form  carbon- 
ate of  lime,  which  is  precipitated  along  with 
the  carbonate  of  lime  previously  held  in 
solution.  This  can  be  done  on  a  small  scale, 
by  stirring  up  a  very  small  quantity  of  lime 
with  the  water  in  the  water-butt,  taking 
care  not  to  add  more  than  enough  to  neu- 
tralise the  carbonic  acid ;  the  whole  of  the 
lime  in  the  water  will  then  be  precipitated, 
and  time  should  be  allowed  for  it  to  settle 
down.  Bischof,  about  the  best  authority  on 
the  subject,  says  that  one  part  of  carbonate 
of  lime  dissolves  in  about  1000  parts  of 
water  saturated  with  carbonic  acid.  Fre- 
senius,  however,  states  that  it  dissolves  in 
8834  parts  of  boiling  water  and  10,600  parts 
of  cold  water,  a  difference  from  his  own  re- 
sults which  Bischof  remarks  that  he  cannot 
explain. — British  Journal. 

Bead  Mosaics  for  1886. 


A  PHOTOGRAPHER  ON  PIKE'S 
PEAK. 

Salida,  Col.,  Oct.  3,  1885. 
Editor  Philadelphia  Photographer  : 

If  you  remember,  I  contributed  to  you, 
about  two  years  ago,  some  negatives  of  one 
of  our  Colorado  canons.  At  that  time  I 
was  considerably  "  out  of  my  head,"  and 
felt  quite  indignant  when  you  politely  in- 
formed me  that  the  negatives  were  hard 
and  unfit  to  print  from.  But  now  I  am 
thankful  that  I  received  such  a  back  set. 
From  that  time  I  began  to  study,  and  read, 
and  practice.  I  soon  found  that  your  judg- 
ment of  my  work  was  correct,  and  when  I 
think  of  it,  I  am  ashamed  that  I  had  learned 
so  little  of  the  photographic  art  in  the  four 
years  of  experience.  Though  I  have  now 
some  good  things,  I  would  not  feel  safe  in 
sending  you  another  set  for  your  journal. 

I  have  taken  great  interest  in  the  work 
of  the  Photographic  Association,  though  I 
am  not  a  member,  and  since  I  made  a  visit 
to  Pike's  Peak,  I  have  thought  what  a  fine 
thing  it  would  be  for  the  Convention  to  be 
held  in  Colorado.  All  you  sun-struck  pho- 
tographers would  think  this  country  a  Para- 
dise, and  so  it  would  be  when  compared 
with  your  hot,  suffocating  days  of  August. 

The  only  difficulty  in  coming  here  is  the 
fact  that  a  two  days'  sojourn  would  furnish 
only  about  one  thousandth  of  what  there  is 
to  see.  Were  the  Convention  to  be  held  in 
Denver,  the  main  points  of  interest  could 
be  visited  at  small  expense.  The  railroads 
would  get  up  photographic  excursions, 
and  it  would  be  a  comical  sight,  as  soon 
as  a  train  stopped,  to  see  five  hundred 
"  shooters  "  shooting  in  every  direction.  I 
started  out  to  give  you  a  brief  account  of 
my  Pike's  Peak  tramp,  hoping  that  it 
might  induce  the  Association  of  Photogra- 
phers to  favors  us  with  a  visit  in  the  near 
future. 

It  was  just  a  month  ago  to-day  that  I 
mustered  up  courage  enough  to  attempt  the 
ascent  of  the  peak,  so  famous  all  over  the 
world.  For  six  years  I  had  viewed  it  from 
the  base,  and  let  it  go  at  that,  but  getting 
tired  of  so  many  fun-poking  fingers  at  my 
timidity,  I  resolved  to  scale  "  Pike's  Peak 
or  bust." 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


357 


From  Manitou  to  the  summit  is  twelve 
miles  by  the  trail,  and  one  gains  in  that 
distance  an  altitude  of  8000  feet.  To  make 
this  ascent  on  foot,  and  carry  on  one's  back 
a  twenty  pound  outfit,  requires  any  amount 
of  grit.  Luckily,  I  had  a  friend  in  the 
shape  of  Tom  Hine,  who  is  affectionately 
dubbed  "  The  "Walking  Crank,"  by  some. 
After  he  had  stuffed  me  chock  full  of  his 
wonderful  exploits,  and  boasted  that  I  was 
not  able  to  make  the  ascent  on  foot,  I  was 
so  full  of  the  indispensable  "grit"  that  it 
slopped  over  and  ran  down  on  the  outside, 
and  on  the  3d  of  August,  at  4  a.m.,  I 
packed  my  traps  on  my  back  and  struck  out 
with  the  step  of  a  sturdy  mountaineer. 

My  way  lay  through  a  deep,  wooded 
trough  in  the  mountain  side,  down  which 
rushes  the  sparkling  waters  of  Ruxten 
Creek.  The  first  mile  is  comparatively 
level,  and  one  passes  a  half  dozen  mineral 
springs  of  soda  and  iron,  where  he  can 
drink  enough  to  last  all  day.  We  soon 
begin  to  climb  up,  up,  up.  It  gets  fear- 
fully steep,  and  my  load  gets  terribly  heavy. 
My  eyes  are  on  a  level  with  the  ground 
only  ten  feet  ahead  of  me.  Phew-ew  !  how 
I  sweat,  and  how  I  blow.  Can't  get  half 
enough  air  in  my  lungs.  My  mouth  isn't 
big  enough  in  this  emergency.  I  had  un- 
dertaken more  than  I  had  bargained  for, 
but  the  braggadocio  expression  on  the  coun- 
tenance of  the  "Walking  Crank"  spurred 
me  from  behind,  and  after  a  short  rest  I 
pushed  forward  with  renewed  vigor.  It 
was  now  6  o'clock,  and  I  had  made  only 
about  three  miles.  I  stopped  to  make  three 
exposures,  which  occupied  an  hour  or  more, 
and  then  began  my  last  mile,  which  I  was 
obliged  to  make  before  breakfast.  I  had 
not  gone  far  when  I  stopped  on  a  high 
point  to  hunt  for  some  breath  and  cool  air, 
for  the  sun  was  coming  down  hot,  and  no 
breeze  was  stirring. 

Looking  around,  what  a  beautiful  sight 
opened  out  before  me.  Where  I  was  the 
sky  was  perfectly  clear,  but  floating  grace- 
fully over  the  valley  3000  feet  below  me, 
lay  a  thickly  matted  blanket  of  vapor.  For 
fifty  miles,  north,  east,  and  south,  it  stretched 
out,  completely  hiding  everything  beneath 
it.  A  light  breeze  sprang  up,  and  sweep- 
ing down  the  side  of  the  mountain,  lifted 


the  western  edge  of  the  cloud,  exposing  to 
view  a  scene  almost  as  black  as  night. 
Through  the  darkness  the  white  cottages  of 
Manitou  could  be  seen  but  indistinctly. 
While  watching  the  changing  of  the  fog 
at  this  point,  farther  out  on  the  plains 
clouds  were  forming  into  clumps,  and  at 
one  time  a  sudden  rift  in  the  thick  fog  un- 
covered the  beautiful  town  of  Colorado 
Springs,  the  morning  sun  lighting  up  with 
such  brilliancy  and  splendor  a  scene  one 
never  forgets,  and  but  few  are  so  fortunate 
as  to  witness. 

Some  Coloradoans  live  on  light  air  and 
scenery,  but  I  can't,  and  I  began  to  be  con- 
scious of  a  bread-and-butter  gnawing  at  the 
front  door  of  my  interior  department. 
Eight  o'clock  found  me  stuffing  said  de- 
partment with  such  energy  as  I  did  not 
know  that  I  possessed,  but  to  satisfy  one's 
stomach  here  is  to  empty  one's  pocket. 
One  slice  of  bread,  two  glasses  of  milk,  a 
little  cold  meat,  and  a  piece  of  pie — "dirt 
cheap  " — only  seventy  cents. 

A  few  tourists  caught  up  with  me  here, 
all  of  whom  were  mounted  on  horses.  They 
looked  so  comfortable,  climbing  the  steep 
trail  without  an  effort,  that  I  adopted  the 
same  plan,  and  found  that  it  worked  ad- 
mirably for  about  an  hour,  but  my  pony 
was  an  old-timer,  and  knew  how  to  fool 
me.  He  had  evidently  "spotted"  me,  for 
before  I  mounted  him  he  eyed  me  from 
head  to  foot,  snuffed  me  all  over,  and  then, 
with  an  innocent  expression  on  his  ear, 
dropped  it  gently  to  a  reclining  position, 
and  waited  for  me  to  say  "  go."  I  noticed 
a  perceptible  movement  when  I  said  the 
word,  but  when  I  stuck  the  spur  into  his 
ribs  he  left  the  dust  behind  him. 

I  worked  harder  to  get  the  pony  along 
now  than  I  had  done  to  get  myself  along 
before  breakfast.  When  I  first  started  on 
him  I  happened  to  touch  a  tender  spot,  but 
I  never  could  find  it  afterwards,  and  a  mile 
or  two  of  this  work  satisfied  me.  Hanging 
my  "  traps  "  on  the  horn  of  the  saddle,  and 
cutting  a  sharp  stick,  I  got  into  the  trail 
behind,  and,  with  the  little  end  of  his  tail 
in  my  left  hand,  the  persuading  influence 
of  the  stick  in  my-  right,  I  managed  to  steer 
him  to  the  very  summit  without  another 
stop. 


358 


THE    PHILADELPHIA    PHOTOGKAPHER 


Leaving  my  "lump  of  laziness  "  hitched 
to  the  peak  of  Pike's  Peak,  I  clambered 
around  over  the  sharp-pointed  rocks  to  see 
what  there  was  to  be  seen.  The  summit  is 
almost  level  over  an  area  of  about  two  acres, 
on  which  the  U.  S.  Signal  Station  stands. 
About  five  years  ago,  when  everything  was 
rude,  and  the  station  was  built  of  loose  rock, 
a  family  by  the  name  of  O'Keif  lived  here 
and  reported  on  the  weather  changes.  The 
husband,  wife,  and  child  lived,  month  in 
and  out,  all  alone,  as  but  very  few  visitors 
at  that  time  made  the  ascent  of  the  peak. 
The  child  had  a  sad  ending,  being  devoured 
by  mountain  rats  (of  course,  you  have  heard 
the  story),  and  its  remains  were  laid  away 
14,147  feet  above  the  level  of  the  sea,  and 
to-day  a  simple  white  headboard  marks  the 
nature  of  the  sacred  spot. 

What  a  beautiful  day  I  had  for  this  trip ! 
Standing  on  the  western  side  of  the  peak,  1 
could  distinctly  see  the  Continental  Divide, 
with  its  hundreds  of  snow-capped  peaks,  an 
hundred  miles  to  the  west,  stretching  along 
the  horizon  as  far  as  the  eye  could  reach. 
Kivers,  valleys,  deep  dismal  canons,  black 
pine  forests,  and  thousands  of  acres  of  rocky 
barren  wastes  lay  between.  I  now  turned 
my  attention  to  the  eastern  side,  and  a  few 
minutes  walk  brought  me  to  the  very 
"ragged  edge."  What  a  sight!  It  was 
awful !  it  was  grand  !  it  was  sublime  !  On 
the  brink  of  the  crater  lay  a  huge  snow 
drift,  reflecting  the  dazzling  rays  of  the  hot 
sun  ;  and  rolling  up  out  of  the  dizzy  depths 
beneath  came  huge  chunks  of  vapor,  writh- 
ing, darting,  plunging  together  in  grand 
confusion;  now  approaching,  now  receding; 
rising  high  above  me,  then  lowering  far 
below,  and  boiling  furiously  before  the 
screeching  wind.  A  moment  more  and  I 
am  completely  surrounded  with  the  thick 
mass  of  drenching  fog ;  but  I  hardly  have 
time  to  think,  when  a  gust  of  wind  lifts  it 
high  above  my  head,  and,  carrying  it  far 
out  between  heaven  and  earth,  leaves  it 
gracefully  poised  in  the  thin  air  like  a  great 
bunch  of  spongy  cotton.  This  wonderful 
phenomena  lasted  about  ten  minutes,  and 
the  sky  again  became  as  clear  as  before. 
Not  a  cloud  near.  All  had  vanished  as 
mysteriously  as  it  had  come. 

I  was  just  on  the  point  of  leaving,  when, 


from  some  unseen  place,  came  a  weird,  rush- 
ing sound  of  wind  ;  and,  on  looking  over 
the  edge  again,  the  most  beautiful  sight  of 
all  was  presented  to  view.  There,  a  thou- 
sand feet  below  me,  in  the  hollow  basin  of 
the  crater,  were  other  vapors  forming  fast 
They  seemed  to  come  out  of  the  very  rocks 
and  eaves,  shooting  straight  into  the  air, 
rushing  together,  hurrying  hither  and 
thither,  changing  and  rechanging  into  fan- 
tastic shapes,  till  a  lull  in  the  wind  brings 
it  to  a  standstill ,  but  only  for  a  moment, 
when  it  seems  that,  from  some  peculiar  in- 
fluence, these  vapors  draw  to  one  common 
centre,  rolling  into  graceful  curves,  until  a 
huge  fleecy  cloud  is  formed,  beautifully  out- 
lined against  the  deep  blue  sky.  What  a 
beauty  !  Soaring  away  in  mid  air;  casting 
a  cool,  delicious  shade  upon  the  little  town 
of  Manitou — only  a  speck — 8000  feet  below. 
The  cloud  is  growing  thick  and  black.  A 
peculiar  sensation  creeps  over  me,  and  my 
hair  seems  to  stand  straight  up.  My  camera 
spits  fire,  and  the  ends  of  my  fingers  prickle 
as  though  they  were  asleep.  I  was  not 
frightened,  because  I  had  realized  these 
sensations  some  three  years  previous,  while 
viewing  on  the  summit  of  the  Continental 
Divide.  I'll  admit  I  was  frightened  then, 
out  of  my  wits,  for  I  picked  up  my  outfit 
and  "streaked"  'er  a  "bee  line,"  cutting 
"  pigeon  wings  "  every  ten  feet,  till  I  was  a 
thousand  yards  below,  panting  and  blowing 
for  dear  life.  This  time  I  stood  still  and 
enjoyed  it  all.  As  the  cloud  floated  away, 
the  electricity  in  the  air  left  me  and  charged 
to  overflowing  the  black  vapor  in  the  dis- 
tance. 

Thunder?  Yes,  it  is  thunder.  Forked 
tongues  of  fire  dart  in  spiteful  jets  from  the 
blue  black  mass,  while  deafening  peals  of 
thunder  echo  and  reecho  among  the  dark 
canons  below.  Now  a  white  streak  starts 
from  the  cloud,  descending  rapidly  towards 
the  earth;  another  and  now  another,  coming 
thicker  until  one  broad  body  of  water  de- 
scends in  one  spout  and  fairly  deluges  the 
dusty  streets  of  Manitou.  A  half  hour 
afterward,  that  which  once  was  like  a  great 
ball  of  fire,  then  a  boiling,  roaring,  seething 
mass  of  midnight  blackness,  is  almost  en- 
tirely disappeared ;  nothing  but  a  light, 
fleecy  cloud  far  away  in  the  distance. 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


359 


This  was  my  first  and  only  visit  to  the 
summit  of  Pike's  Peak.  Who  would  not 
enjoy  the  same  experience?  At  8  o'clock 
that  night,  after  leading  my  pony  nearly  all 
the  way  home,  I  plunged  myself  into  a 
downy  bed,  all  "  broke  up,"  and  six  inches 
shorter  (stove  together  in  coming  doAvn  the 
mountain  trail)  than  I  was  when  I  started 
out  with  so  much  grit  in  the  early  morning. 

I  will  leave  you  now,  hoping  that  it  will 
not  be  long  before  the  many  members  of  the 
Photographic  Association  of  America  will 
make  a  visit  to  our  "wonderland"  of 
America.     Very  respectfully, 

Geo.  E.  Mellen. 

"NO  BOOKS  FOR  THE  P.  A.  OF  A." 

Determined  that  this  cry  should  not  be 
repeated,  the  Secretary  and  Treasurer  kept 
a  systematic  set  of  books  this  past  season, 
and  can  show  every  moneyed  transaction, 
they  claim.  What  follows  is  a  section  from 
the  Treasurer's  book,  and  ilustrates  the  sys- 
tem followed. 


HOW  THE  THUMB-MARKS  WILL  BE  TAKEN. 

When  the  thumb-mark  shall  have  been 
prescribed  as  necessary,  it  will  be  an  easy 
matter  to  obtain  the  marks.  An  ink  pad 
will  be  provided  similar  to  those  used  with 
ordinary  rubber  stamps.  The  applicant  for 
a  certificate  will  be  compelled  to  place  his 
thumb  lightly  on  the  pad  and  then  on  a 
piece  of  paper  where  the  impression  will  re- 
main. A  right  and  left  impression  should 
be  taken  and  should  be  entered  in  the 
books  with  the  original  application.  If 
it  is  considered  desirable,  the  impression 
may  be  enlarged  by  photography.  When 
a  Chinaman  applies  for  admission  to  this 
country,  the  inspector  will  at  once  take 
his  thumb-marks  and  compare  them  with 
the  marks  entered  on  the  book.  If  they 
agree,  the  Chinaman  can  be  safely  ad- 
mitted ;  if  they  do  not  agree,  the  China- 
man will  not  be  admitted.  The  proof  will 
be  undoubted  and  indisputable.  Same 
height  or  different,  pockmarked  or  smooth, 
will  make  no  difference. 


Providence,  R.  1. • 188 

Keceived  of 

For  Initiation       -------         $ 

For  Dues  for  the  year  ending  Dec.  31,  188  &  m 

Extract  from  Constitution.  Total 

Article  2,  Section  4. — The  annual  dues  become 
payable  on  January  1st  of  each  year,  and  any  mem- 
ber failing  to  pay  the  same  prior  to  the  adjournment 
of  the  annual  meeting  shall  forfeit  his  right  to  mem- 
bership, and  can  only  be  reinstated  on  payment  of 
an  initiation  fee  ($3.00)  as  provided  in  case  of  ad- 
mission of  new  members. 

No  Treasurer. 


THUMBS  DOWN. 

Mr.  I.  W.  Taber,  the  famous  San  Eran- 
cisco  photographer,  sends  us  a  copy  of  the 
San  Erancisco  Daily  Report,  nearly  one 
page  of  which  is  devoted  to  illustrations 
and  descriptions  of  a  novel  method  of  identi- 
fying the  Chinaman,  who  would  an  Ameri- 
can "merchant"  be,  when  he  makes  an 
attempt  to  defraud  our  Government  by  the 
presentation  of  "borrowed  papers." 

The  plan  is  to  take  impressions  of  his 
thumbs,  whose  lines  "  never  change." 


identity  of  thumb-marks 

will  prove  identity  of  Chinamen,  and  dis- 
similarity will  show  that  the  wrong  man  is 
applying  for  admission.  Photography  could 
be  very  conveniently  employed  to  procure 
duplicate  thumb-marks,  so  that  those  in  the 
original  books  need  not  be  disturbed,  but 
duplicate  books  could  be  prepared. 

The  advantages  of  the  method  suggested 
are  manifold.  Not  only  would  it  furnish 
sure  means  of  identification,  but  it  will 
have  the  advantage  of  expediting  the  Cus- 


360 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


tom-house  business.  Instead  of  each  China- 
man requiring  several  minutes  to  supply  a 
full  description  a  few  seconds  would  suffice 
for  each.  A  simple  apparatus  to  secure  the 
thumbs  in  the  correct  position  and  put  the 
right  amount  of  pressure  might  easily  be  de- 
vised, so  that  no  blurring  could  occur.  It 
would,  moreover,  enable  the  Custom-house 
officer  to  comply  with  the  strict  letter  of  the 
law  as  well  as  the  spirit. 

THE  MAN  WHO  HAS  PERFECTED  THE 
THUMB-MARK  METHOD. 

Mr.  I.  "W.  Taber,  the  photographer,  stated 
to  the  Daily  Report  reporter  that  when  Judge 
Lawton  suggested  the  idea  to  him  he  was 
unacquainted  with  it.  He  had  made  many 
experiments,  and  at  last  had  hit  on  the 
method  which  he  considered  as  perfect  as 
could  be  desired.  He  described  his  method 
as  it  has  been  described  elsewhere  in  this 
article.  He  had  become  interested  in  it  as 
a  curiosity,  as  well  as  for  its  practical  value. 
The  value  of  photography  as  applied  to  the 
matter  was  merely  for  the  purpose  of  en- 
largement, and  to  prepare  exact  duplicates 
for  reference.  His  examination  had  con- 
vinced him  that  close  examination  and 
measurements  would  show  as  much  char- 
acter in  some  of  the  less  wavy  lines,  so  that 
if  the  thumb  should  be  scarred  after  the 
impression  was  taken  it  would  matter  little. 


IMP 


£*&&&-> 

*$;/::■$!$*■&•. 


<'fr£<  .*•■'  v  -.:■■• 


The  thumb  marks  of  I.  W.  Taber,  the  photog- 
rapher, are  even  more  different.  On  one  the 
lines  cross  with  but  little  break,  while  in  the 
other  they  are  convoluted. 

He  was  enthusiastic  on  the  subject,  and  in- 
tended to  work  out  the  matter  still  farther. 
He  intended  to  make  a  chart  of  greatly  en- 
larged thumb-marks  and  expose  it  to  view 
in  front  of  his  studio  on  Montgomery  Street, 
that  every  one  might  study  the  matter  at 
leisure. 

We  expect  now  that  the  idle  time  of  our 


readers  will  be  taken  up  in  following  the 
fashion  led  by  Mr.  Taber,  whose  individual 
thumb-marks  we  append  as  a  sample.  The 
difference  between  the  right  thumb  and 
the  left  is  undoubtedly  due  to  the  rack  and 
pinion  of  his  lenses.  We  noticed,  on  com- 
paring Mr.  Taber's  thumb-marks  with 
those  of  a  Chinese  laundryman  (given  in 
the  Daily  Report)  that  Mr.  T.'s  "lines" 
were  more  clogged  than  those  of  Lee  Yek. 
This  is  due  probably  to  the  excessive  use  of 
pyro  in  Mr.  Taber's  practice  ;  while  the 
alkaline  developer  used  by  the  aforesaid 
Tek  is  only  soap  ! 
Mr.  Taber  says 

THUMB-MARKS  CAN  BE  USED  FOR  OTHER 
PURPOSES. 

In  the  course  of  his  experiments,  Mr. 
Taber  has  had  brought  forcibly  to  his  mind 
the  various  uses  to  which  the  thumb-mark 
could  be  put.  Not  only  will  it  be  invalu- 
able for  the  purposes  of  Chinese  identifica- 
tion, but  for  that  of  others  as  well.  A  man 
applying  for  a  letter  of  credit  would  be  re- 
quired to  furnish  his  thumb-mark  to  the 
bank.  It  would  be  sent  to  the  correspond- 
ing institutions,  and  when  application  was 
made  for  the  money  a  corresponding  thumb- 
mark  would  be  sufficient  identification. 
There  would  be  no  need  of  hunting  up 
acquaintances  for  identification,  an  impos- 
sibility frequently  in  a  strange  city.  The 
thumb-mark  would  be  all-sufficient. 

Banks  might  even  require  it  in  cases 
where  large  sums  were  to  be  paid  in  checks, 
in  addition  to  the  signature.  Each  bank 
might  keep  a  book  of  thumb-marks  of  large 
depositors.  Forgery  would  be  impossible 
where  thumb-marks  are  used.  The  thumb- 
mark  might  be  added  to  the  signature  in 
the  form  of  a  seal  in  all  cases  where  much 
depends  on  a  signature,  as  in  deeds,  wills, 
or  marriage  contracts.  Instead  of  John  Doe 
His  X  Mark  would  appear  John's  thumb- 
mark,  as  perfect  a  signature  as  that  of  the 
most  finished  scholar.  Private  correspond- 
ence might  be  signed  by  thumb-marks,  for 
each  thumb  would  be  as  well  known  to  an 
intimate  correspondent  as  the  photograph 
of  the  face.  Thumb  albums  would  replace 
autograph  albums,  and  would  furnish  a 
record  of  more   characteristic   marks  than 


THE    PHILADELPHIA    PHOTOGRAPHER 


361 


could  the  signatures  of  sentimental  friends. 
Charts  would  be  prepared  of  thumb-marks 
of  great  men,  and  books  be  written  on  the 
common  characteristics..  Season  tickets  to 
the  fair,  passes  on  railroads,  and  all  non- 
transferable tickets  could  be  signed  with  the 
thumb-mark.  The  uses  which  may  arise 
from  these  experiments  of  Mr.  Taber  are 
almost  limitless. 

We  leave  the  matter  between  the  thumbs 
of  our  readers. 


OUR  PICTURE. 


It  was  our  intention  this  month  to  use  as 
our  embellishment,  a  mosaic  made  up  of 
nine  selections  from  the  German  pictures  to 
which  the  second  Gennert  prize  was  awarded 
at  Buffalo,  but  an  unusual  amount  of  bad 
October  weather  has  prevented  us  from 
getting  the  prints  done  in  time. 

It  will  be  no  loss  to  our  readers,  however, 
for  it-  shall  come  next  month.  Moreover, 
we  are  thus  given  an  opportunity  to  return 
to  the  American  series  of  portraits,  which 
we  have  had  in  preparation  some  time.  The 
negatives  were  made  by  Messrs.  Chandler  & 
Scheetz,  a  young,  enterprising,  and  growing 
firm  of  this  city.  The  lady  is  Miss  Ethel 
Lynton,  an  actress  of  great  fame  and  talent, 
and  whose  amiability  gives  us  this  pleasure. 

A  number  of  negatives  were  used  to  print 
our  edition,  varying  only  a  little  in  pose, 
and  all  showing  the  graceful  sympathy  for 
the  photographer  evinced  by  a  subject  whose 
vocation  is  the  stage. 

The  principles  of  art  are  the  same  in  every 
art,  so  that  it  is  not  hard  for  a  votary  of  the 
stage  to  understand  the  photographer  and  to 
help  him,  and  it  makes  easy  work  for  the 
photographer  to  pose  and  make  pictures  of 
such  good-hearted  people. 

Messrs.  Chandler  &  Scheetz  have  done 
their  best  in  this  case,  and  have  provided  us 
a  fine  study. 

The  prints  were  made  at  our  own  print- 
ing-rooms, by  ordinary  formula,  upon  the 
celebrated  N.  P.  A.  paper,  supplied  for  the 
purpose  by  the  importers,  Messrs.  E.  &  H. 
T.  Anthony  &  Co.,  No.  591  Broadway, 
New  York. 


GLEANINGS. 

Mr.  Bohling  has  found  that  100  c.c.  of 
boiling  water  poured  into  a  new  vessel,  dis- 
solved of  this  vessel,  in  two  seconds,  suffi- 
cient alkaline  silicate  to  neutralize  one  c.  c. 
of  a  solution  of  oxalic  acid,  containing  one 
gramme  of  oxalic  acid  for  each  litre  of 
water.  This  is  certainly  not  much,  but 
sufficient  to  exercise  an  influence  in  many 
cases  on  the  results  of  the  manufacture  of 
emulsion.  In  old  vessels  there  is  no  appre- 
ciable quantity  of  alkaline  silicate  dissolved. 
— Revue  Photographic. 

Platinotypy. — Mr.  G.  de  Vylder,  Pro- 
fessor at  the  Industrial  School  of  Ghent, 
gives  the  following  formula,  which,  how- 
ever, he  does  not  claim  to  be  his  own,  for 
giving  a  more  agreeable  sepia  tone  than  is 
generally  found  in  prints  made  by  this  pro- 
cess. 

Prepare  with  heat,  on  the  one  part : 


Water,  .         .         .         . 
Neutral  oxalate  of  pot- 
ash, . 
Oxalic  acid,  . 


1000  c.c. 

300  grammes. 
^0  grammes. 


and  on  the  other  part,  also  with  heat,  100 
c.  c.  of  a  saturated  solution  of  chloride  of 
copper. 

Pour  the  second  solution  into  the  first  and 
keep  the  temperature  at  about  80°  centi- 
grade. Plunge  the  prints  into  this  liquid 
and  then  in  diluted  hydrochloric  acid — now 
pass  in  a  five  per  cent,  solution  of  sulphate  of 
iron,  to  obtain  a  delicate  sepia  tone.  Then 
in  water  acidulated  with  sulphuric  acid. 
Finally,  wash  with  care. — Paris  Moniteur. 

A  very  curious  chemical  experiment  has 
recently  been  made  by  Mr.  Cabell.  He  saw 
that  when  nitrate  of  silver  is  precipitated  by 
means  of  potash,  we  obtain,  ordinarily,  a 
granular  and  brownish  precipitate  of  oxide 
of  silver.  When  the  precipitation  is  made 
under  a  very  considerable  degree  of  cold, 
about  140°  below  zero,  Fahr.,  the  precipitate 
is  white  and  flocculent ;  this  is  the  veritable 
hydrate  of  silver  (hydra ted  oxide  of  silver), 
aad  it  is  slightly  soluble  in  water.  At  a  few 
degrees  above  this  very  low  temperature,  the 
precipitate  is  already  of  a  pale  brown. — 
Paris  Moniteur. 


25 


362 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


STUDIO  STUDIES. 

Even  the  humblest  photographer  can  re- 
late some  funny  experiences,  and  oftentimes 
with  a  good  moral   attached.     As  a  rule, 


practice,  however,  have  caused  the  average 
skylighter  to  look  out  for  his  own  interests 
more  than  formerly,  and  we  really  often 
hear  of  him  maintaining  both  his  dignity 
and  his  rights. 


however,  he  is  more  apt  than  his  patron  to  be 

the  one  at  whose  expense  the  humor  comes. 

Low   prices    and    modern   "cut-throat" 


So  much  is  this  the  case  that  we  not  in- 
frequently see  the  situation  both  described 
and  illustrated  in  the  secular  (sic  !)  press. 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


363 


One  of  the  very  best  humorous  papers  of 
the  world  is  the  Fliegende  Blatter.  We 
have  enjoyed  it  for  a  number  of  years,  be- 
cause of  the  genuine  fun  we  get  out  of  it, 
and  because  of  its  really  aesthetic  character. 
Its  illustrations  are  largely  from  pen  sketches 
by  famed  artists,  reproduced  by  photo-en- 
graving. This  last  fact  places  the  Blatter 
in  sympathy  with  the  photographer,  and 
we  find  in  its  pages  occasional  sketches  of 
studio  experiences  which  are  very  funny — 
so  much  so,  in  fact,  that  we  are  tempted  to 
step  aside  from  our  usual  grave  course,  and, 
by  means  of  the  Levytype  process,  share  the 


crayoned,  enters  the  studio  on  an  errand  of 
inspection,  and  is  met  by  the  artist,  who 
places  the  picture  on  the  easel  before  her 
She  looks  quietly  and  silently,  whereupon 
he  exclaims,  "  It  is  very  handsome,  madam," 
And  she  :  "Yes,  quite  handsome.  But  you 
have  made  one  great  mistake,  somehow. 
It  is  not  a  likeness — it  does  not  look  like 
me."  Then  he:  "Oh!  very  true,  madam  ; 
but,  then,  if  you  want  a  likeness  you  must 
go  down  stairs  to  the  photographer.  /  am 
an  artist,  thank  heaven." 

The  next  seance  is  in  the  skylight.     Sub- 
ject, a  base-ball  club.     After  much  fussing 


pleasure  of  several  of  them  with  our  readers. 
"We  hope  to  be  pardoned  if  we  make  any 
mistake  in  trying  to  brace  up  our  fellow- 
sufferers  during  this  calamitous  season  of 
dull  weather  and  depression  of  dollars. 

The  first  extraction  is  entitled  Artistic 
Pride.  The  scene  is  "up  stairs"  where 
the  crayon  man  covers  over  the  work  of  the 
photographer  with  his  chalks,  and  scrawls 
his  own  name  at  one  corner.     Madame,  the 


and  fixing,  the  poor  underpaid  photographer 
under  pressure  of  dire  apprehension  lest  he 
never  realize  a  dollar  out  of  the  whole  trans- 
action, summons  up  courage  to  say  :  "  Now, 
are  you  all  ready?" 

All:  "Yes;  pitch  away,  partner. " 
Photographer,  in  a  bland  and  fascinating- 
tone  ;  "  Yery  still,  then ;  and  all  turn  your 
eyes  to  the  right  and  fix  them  upon  the 
little  placard  against  the  window." 


364 


THE    PHILADELPHIA    PHOTOGRAPHER. 


They  all  turn  heads  and  see. 

"  Credit  wird  nicht  gegeben  "  (we  do  not 
give  credit).  The  club  was  "  caught  out," 
gave  up  its  design,  and  paid  before  proof. 
To  be  continued,  unless — 


GERMAN  CORRESPONDENCE. 

Isochromatie  Photography — New  Bodies  for 
Improving  the  Development  of  Dry  Plates 
— Photography  of  the  Aurora — Shell  Cards 
— Portrait  Photography  and  Platinotype 
— New  Observations  on  the  Chemical  Ac- 
tion of  Light — Making  Negatives  by  Draw- 
ing. 

I  see  from  the  September  number  of  your 
journal,  Mr.  Ives  takes  the  greatest  pains  to 
try  to  lessen  the  importance  of  my  discoveries 
in  isochromatic  photography,  and  to  depre- 
ciate my  wet  eosine  process,  which  is  at  pres- 
ent used  by  the  great  reproduction  galleries 
year  in  and  year  out,  and  with  the  greatest 
success,  forgetting  that  his  chlorophyl  pro- 
cess, which  no  man  but  himself  uses,  is  noth- 
ing more  than  an  improvement  on  that 
made  long  ago,  before  his  experiments,  by 
Ducos  du  Hauron.  Mr.  Ives  makes  a  mis- 
take when  he  says,  I  no  longer  dispute  his 
claim  to  priority  in  practical  isochromatic 
photography.  I  do  dispute  these  claims,  and 
declare  again  that  I  made  the  first  isochro- 
matic photograph  in  the  year  1873  {seventy- 
ihi;ee),  as  he  may  read  in  the  Photo -mittheil- 
lungen,  vol.  9,  No.  236.  The  main  point  in 
my  discovery  lies  in  the  principle  laid  down 
by  me  in  1873,  that  we  are  able  to  make  bro- 
mide of  silver  sensitive  to  the  light  from  any 
color,  that  is  to  say,  to  increase  the  already 
existing  sensitiveness  to  the  peculiar  color  by 
the  addition  of  matter  which  absorbs  the  par- 
ticular rays  of  color.  That  is  the  isochro- 
matic principle  which  includes  all  absorbing 
media,  and  with  which,  two  years  later, 
Becquerel,  Waterhouse,  and  others,  also  ex- 
perimented, using  chlorophyl  and  other 
dye-stuffs,  which  confirmed  my  principle  on 
which  are  founded  all  present  so-called  iso- 
chromatic processes,  and  not  on  Draper's, 
who  never  regarded  the  influence  of  bodies 
on  the  light  sensitiveness  of  bromide  of 
silver. 

It  is  well  known   that  hyposulphite   of 


soda,  in  very  dilute  solution,  acts  as  an  ac- 
celerator in  the  development  of  dry  gelatine 
plates,  and  therefore,  with  good  results,  may 
be  employed  as  a  preliminary  bath  in  the 
development  of  azaline  plates.  Now  Dr. 
Messerschmidt  has  found  that  nitrate  chrys- 
ani  line,  in  dilution  of  1-2000  parts,  has  a  like 
action  :  likewise  sulphate  of  cinchona,  1-300. 
Of  especial  interest  is  the  fact  that  chrysani- 
line,  as  a  preliminary  bath,  not  only  makes 
the  plates  more  sensitive,  but  also  represses 
the  maximum  effect  of  green.  Advantage 
may,  therefore,  be  derived  from  this  prac- 
tice, but  for  color-sensitive  plates  it  has  no 
value,  inasmuch  as  the  sensitiveness  for  yel- 
low or  red  is  not  increased  thereby.  Plates 
bathed,  in  this  way,  yield  softer  negatives  , 
in  the  light  not  strong,  as  others  not  so 
treated.  This  point  is  of  importance,  and 
demands  further  investigation. 

The  astronomer,  Mr.  Baltin,  made  known 
at  the  Society  for  Advancement  of  Photogra- 
phy that  he  was  in  the  habit  of  regenerating 
his  iron  developer  by  the  following  method  : 
By  precipitating  the  iron  with  acetate  of  po- 
tassa,  and  adding  oxalic  acid.  He  took  oc- 
casion to  remark  that  the  repeatedly  regener- 
ated developer  changed  its  nature,  and  that, 
finally,  all  the  iron  could  not  be  precipitated 
with  the  potash.  The  renewed  developer, 
thus  not  having  the  same  quantity  of  iron  as 
a  fresh  one,  works,  however,  softer.  The 
time  of  exposure  must,  therefore,  be  short- 
ened, which  fact  is  of  value  in  the  develop- 
ment of  instantaneous  pictures.  Herr  Rich- 
ter  said  that  he  thought  that  the  con- 
stantly used  developer  gradually  extracted 
material  from  the  gelatine  film,  and  that 
such  organic  substances  retarded  the  pre- 
cipitation by  an  alkali.  A  striking  fact  was 
that  such  regenerated  developer,  in  spite  of 
its  acidifying  by  oxalic  acid,  became  of  itself 
again  alkaline.  Lately  Herr  Nimly  has 
brought  into  commerce  an  addition  to  the 
developer,  which  he  calls  Excelsior. 

Nimly  uses  two  different  substances,  the 
one  for  alkaline  pyro,  the  other  for  oxalate 
development. 

Herr  Haberlardt,  who  has  tried  the  ad- 
dition, says,  that  he  has  achieved  very  good 
results  with  it.  He  lays  special  stress  on 
the  fact  of  the  preservative  action  of  the 
added  body,  so  that  it  is  possible  to  develop 


THE    PHILADELPHIA    PHOTOGKAPHEP. 


565 


more  plates.  He  has  found  it  to  work  well 
the  next  day  after  mixing. 

Lately,  Prof.  Trunholt  sent  samples  of  his 
Auroral  Photography  ;  they  are  the  first  ex- 
amples of  the  application  of  azaline  plates 
to  the  subject,  inasmuch  as  the  ordinary 
gelatine  plate  is  not  sensitive  to  red  rays. 
These  photographs  gave  a  remarkable  ex- 
pression of  the  phenomenon  that  upon  one 
of  the  picture  was  seen  the  aurora  as  a 
simple  illuminated  arch,  whose  perpendicu- 
lar bands  formed  rays,  from  which,  by  regu- 
lar degrees,  higher  rays  branched  out. 
Upon  the  second  image  were  two  such  arches 
together.  The  third  showed  three  attached 
arches,  but  the  band  of  the  innermost  ap- 
peared in  the  most  distant  part  split,  and  the 
two  ends  bent  down  to  and  fro  in  different 
ways.  Here  is  matter  for  investigation. 
These  photographs,  after  Kayser's  lightning 
pictures,  are  the  most  remarkable  pictures 
of  natural  phenomena ;  one  of  the  most 
beautiful  attainments  of  the  color  sensitive 
photography. 

For  a  long  time  we  have  had  nothing 
essentially  new  in  the  territory  of  photogra- 
phy, therefore  a  little  novelty,  which  ap- 
pears in  the  shape  of  shell  mounts,  may  be 
of  interest.  Under  this  designation,  H. 
Eckert,  Court  Photographer  of  Prague,  has 
brought  out,  at  the  suggestion  of  Herr  Count 
Johannes  Thun,  a  new  form  of  mount  for 
photographs,  which  is  taking  considerably 
with  the  aristocracy.  The  form  is  square, 
the  shorter  side  being  the  basis  of  measure- 
ment. Mignon  shell  form,  45  mm. ;  carte  de 
visiteform,  70  mm.  ;  cabinet  shell,  110  mm. 
The  corner  and  not  the  edge  the  base  of  the 

picture  S  \  by  which  up  and  down,  right 

and  left,  and  not  as  hitherto  indicated  by 
edges,  but  by  corners. 

In  America  enlargements  are  generally 
made  with  silver  prints,  here  all  large  forms 
are  taken  in  phototype,  and  lately  in  photo- 
gravure, which  is  now  in  operation  in  eight 
different  galleries  in  Germany.  I  received 
from  Messrs.  Harsen  and  "Weller,  in  Copen- 
hagen, beautiful  work,  costume  figures,  from 
the  Jubilee  Festival  of  3d  December,  1884, 
made,  according  to  the  ideas  of  Prof.  Hol- 
berg,  reproduced  from  the  negatives  by  the 
firm  of  P.  Schuster,  in   Berlin.     Hitherto 


the  photogravure  has  been  confined  to  re- 
production of  oil  paintings.  Here  it  is  ad- 
vancing into  a  new  departure,  portrait  pho- 
tography. Certain  examples  seem  to  us  too 
dense  in  shadows,  but  the  greater  number 
are  excellent.  It  is  known  that  the  plati- 
notype  gives  very  excellent  pictures,  and 
I  believe  that  it  deserves  all  attention  of  the 
portraitist,  on  account  of  the  greater  per- 
manency over  silver  prints. 

It  is  known  that  the  chemical  action  of 
light  on  vegetable  life  plays  an  important 
part,  greater  even  than  in  photography. 
Lately,  a  man  of  the  same  name  as  mine, 
Vogel,  of  Munich,  has  confirmed  this.  Prom 
different  hot-houses  he  examined  cinchona 
plants,  finding  in  none  the  characteristic 
reaction.  He  therefore  came  to  the  in- 
evitable conclusion  that  the  absence  of  the 
cinchona  was  due  to  the  want  of  sufficient 
sunlight  in  the  places  where  the  plants  were 
raised.  Therefore  the  sun  is  a  great  factor 
in  the  production  of  the  alkaloid  in  the  liv- 
ing plant,  but  it  is  also  to  be  remembered 
that  the  sun  has  an  injurious  effect  upon  the 
dried  barks  in  eliminating  the  cinchona, 
forming  dark  uncrystallized  resinous  masses. 
Therefore,  in  the  factories  the  drying  must 
be  done  in  the  dark.  This  peculiarity  of 
cinchona  has  its  analogy  in  the  action  of 
chlorophyl  in  direct  sunlight.  Leaves  of 
plants  raised  in  the  dark  do  not  show  any 
presence  af  chlorophyl  ;  as  soon,  however,  as 
the  chlorophyl  is  separated  from  the  living 
vegetable  the  action  of  direct  sunlight  tends 
to  decompose  it.  A.  Vogel  supposes  that 
the  formation  of  tannin  in  the  living  plant 
is  also  influenced  by  light.  The  quantity 
of  tanning  properties  of  beach  and  larch 
bark  is  in  proportion  to  the  different  po- 
sitions from  which  it  is  taken  from  below 
or  above.  The  sunny-exposed  trees  yield 
the  greatest  amount  of  tannin  ;  likewise  the 
leaves  which  are  exposed  most  to  light  are 
rich  in  tannin  property. 

Lately  Mr.  Sherkerdorfer  patented  a  pro- 
cess for  producing  at  once  paper  negatives 
of  drawings,  writings,  etc.  Arrowroot 
paper  is  dipped  in  a  solution  of  iodine, 
which  turns  it  brown,  and  the  character  or 
drawing  is  made  with  hyposulphite  of  soda, 
giving  white  upon  a  dark  ground. 

Yours  truly,     H.  W.  Vogel,  Ph.  D. 


366 


THE   PHILADELPHIA   PHOTOGRAPHER 


CAMERA  AMATEURS  * 

Spread  of  the  Mania  for  Photography 
— Taking  Views  on  the  "Wing — Scenes 
in  the  Amateurs'  Association  Kooms 
— Odd  and  Artistic  "Work. 

( Continued  from  page  33S.) 
SEEKING  SUBJECTS. 

In  their  trips  out  in  the  country  the  ama- 
teurs have  a  fashion  of  making  what  artists 
call  "  studies."  A  fence  corner,  an  arching 
oak,  a  tangle  of  ferns,  a  cloud-capped  moun- 
tain, a  scrambling  litter  of  little  black  pigs, 
a  friendly  calf,  or  frightened  hen  with  her 
chicks,  a  plodding  farmer — all  these  and 
dozens  of  ether  such  subjects  are  taken  and 
finished.  Some  of  the  amateurs  follow  pecu- 
liar lines  of  subjects.  One  pays  almost 
exclusive  attention  to  interiors,  and  his 
friends  are  incited  to  the  most  artistic  ar- 
rangement of  their  parlors,  libraries,  bed- 
rooms, and  dining-rooms  by  his  passion  for 
photographing  them.  Another  has  a  craze 
for  cloud  and  fog  effects,  and  many  of  his 
pictures  would  be  identified  by  San  Fran- 
ciscans if  accidentally  seen  in  Egypt.  An- 
other pays  close  attention  to  the  details  of 
trees  and  shrubbery,  and  his  work  is  also 
charmingly  characteristic  of  California.  It 
is  the  general  testimony  of  the  amateurs 
that  the  desire  of  the  average  human  being 
to  be  "  in  "  a  picture  is  only  equalled  by  his 
desire  to  see  a  finished  picture  an  instant 
after  it  is  taken.  It  takes  a  day  to  finish 
and  mount  properly  a  photograph  from  the 
negative,  yet  the  spectator  of  the  amateur 
at  work  invariably  expresses  disappointment 
that  the  picture  cannot  be  shown  as  soon  as 
taken. 

BLUE  PRINTS. 

There  is  so  much  work  about  printing 
from  the  negative,  toning,  fixing,  mount- 
ing, polishing,  and  otherwise  preparing  a 
photograph  from  the  negative,  that  some- 
times the  amateurs  make  what  are  called 
"blueprints."  The  blue  prints  are  in  ap- 
pearance what  their  name  indicates,  and 
are  produced  with  little  trouble,  being  sim- 
ply printed  and  washed,  the  troublesome  pro- 
cesses of  toning  and  finishing  being  omitted. 
These  blue  prints,  especially  in  some  classes 

®  San  Francisco  Daily  Chronicle. 


of  water  views,  are  very  pretty  and  effective. 
Some  amateurs  do  even  less  than  this.  They 
take  their  negatives  only  and  send  them 
to  professionals,  who  print,  prepare,  and 
mount  them.  There  are  professionals  who 
do  nothing  but  this,  taking  no  negatives 
themselves,  while  some  amateurs  are  too 
busy  or  too  indolent  to  do  their  own  finish- 
ing ;  others  do  an  elaborate  amount  of  work. 
Double  printing  comes  under  this  head. 
Double  printing,  which  may  be  called  deco- 
rative photography,  is  where  two  negatives 
are  printed  on  one  piece  of  paper.  A  grace- 
fully grouped  bunch  of  ferns  or  stalk  of 
flowers  may  be  first  photographed.  When 
it  is  printed  part  of  the  paper  is  covered  so 
that  a  blank  space  is  left  in  the  centre,  per- 
haps where  a  portrait  or  some  appropriate 
view  is  afterwards  printed,  and  the  work  is 
so  nicely  dovetailed  that  it  appears  to  be 
one  print.  "When  the  mania  for  photog- 
raph}' takes  possession  of  a  man  it  is  said 
to  exceed  in  strength  the  passion  for  French 
cookerj'.  The  camera  is  as  constant  a  com- 
panion as  tobacco  to  a  smoker.  One  young 
lawyer  who  has  the  disease  very  bad  is 
having  a  camera  constructed  to  look  like  a 
couple  of  law  volumes.  Another  amateur 
has  had  a  little  dark-room  built  in  his 
grounds  at  a  cost  of  $750.  An  interesting 
feature  of  the  craze  is  the  practical  uses 
which  have  been  discovered  by  artists  in 
oil.  Several  artists  have  thrown  old  preju- 
dices aside  and  use  the  camera  for  their 
compositions.  If  it  is  a  group  of  Chinese 
actors,  or  a  group  of  barnyard  chickens, 
which  is  to  be  painted,  the  faithful  camera 
supplies  the  composition  with  absolute  truth 
to  nature. 


The  Sun  at  Work.- — Photographers  who  find 
"  business  poor,"  should  read  the  chances  given 
them  to  pick  up  trade  by  the  Levytype  process, 
in  the  chatty  article  on  another  page. 

The  New  Orleans  Exposition  opens  November 
10th,  It  will  be  a  grand  display,  no  doubt,  and, 
so  far  as  we  know,  without  any  systematic 
photographic  exhibition. 

Mr.  T.  H.  Blair,  President  of  the  Blair 
Tourograph  and  Dry-plate  Co.,  Boston,  called 
upon  us,  October  13th,  on  his  way  to  the  Cincin- 
nati branch. 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


367 


SOCIETY  GOSSIP. 

The  Photographic  Society  of  Phila- 
delphia.— Minutes  of  the  regular  meeting, 
held  Wednesday  evening,  October  7,  1885, 
the  President,  Mr.  J.  W.  Bates,  in  the  Chair. 

Attention  was  called  by  the  Secretary  to 
the  circular  announcing  the  third  annual 
exhibition  of  the  Boston  Society  of  Amateur 
Photographers,  which  is  to  be  held  about 
the  latter  part  of  November.  It  was  urged 
that  as  many  members  as  possible  contribute 
pictures. 

The  Committee  on  Membership  reported 
the  election  of  Mr.  J.  Mitchell  Elliot  as  an 
active  member. 

Three  new  names  were  also  proposed  for 
active  membership. 

Mr.  "Wood  stated  that  he  had  found  much 
difficulty  in  obtaining  a  knife  for  trimming 
prints  which  would  hold  its  edge  for  any 
length  of  time.  He  finally  made  one 
from  an  old  "  hack  saw,"  grinding  it  to  the 
proper  shape,  and  fitting  it  into  a  handle. 
The  quality  of  the  steel  was  such  that  the 
edge  could  be  maintained  a  long  time,  and 
it  answered  for  trimming  prints  on  glass 
better  than  any  knife  he  had  ever  used. 

Mr.  Carbutt  exhibited  two  cabinet  pic- 
tures taken  on  his  special  plates  by  Mr. 
George  A.  Lenzi,  in  his  studio  at  Norris- 
town.  The  pair  told  the  story  of  an  amusing 
episode  in  the  experience  of  two  darkey 
boys  during  the  watermelon  season,  and  the 
poses  and  expressions  were  as  lifelike  and 
natural  as  they  could  well  be.  Two  lantern 
slides  of  the  same  subjects  were  also  shown, 
which  had  been  made  on  "  A  "  plates,  de- 
veloped with  pyro  and  potash  with  excellent 
success. 

Some  slides  were  also  shown  by  Mr.  Bur- 
roughs, from  negatives  made  by  him  in 
New  York  Harbor  during  the  International 
yacht  race. 

Mr.  Corlies  showed  some  interesting  pic- 
tures of  salmon  and  salmon  fishing,  taken 
by  him  on  a  recent  trip  to  New  Brunswick, 
Canada. 

Mr.  Wood  showed  a  number  of  excellent 
figure  studies,  including  some  characteristic 
pictures  of  darkey  life. 

Some  good  pictures  illustrating  certain 
interesting  geological  formations  in  the  vi- 


cinity of  Philadelphia  were  shown  by  Mr. 
Hardin,  who  also  brought  with  him  a  num- 
ber of  most  successful  portraits  of  children 
taken  in  a  "back  yard,"  with  background 
accessories  of  very  simple  yet  effective  char- 
acter. 

Mr.  Croughton  showed  some  "wet"  lan- 
tern slides  which  had  not  been  toned  after 
development,  for  which  he  claimed  greater 
clearness  in  the  shadows  than  was  usual 
with  toned  slides,  the  toning  tending  to  clog 
up  the  shadows  to  some  degree. 

Some  excellent  and  interesting  slides  were 
shown  by  Mr.  Hazzard ;  also  some  by  Mr. 
Hood,  Mr.  Bartlett,  and  Dr.  Jordan. 

Adjourned.       Robert  S.  Redfield, 

Secretary. 

Exhibition  of  Photographs  by  the 
Photographic  Society  of  Philadel- 
phia.— The  Committee  in  charge  of  the  Ex- 
hibition are  in  receipt  of  most  encouraging 
responses  to  the  circular  issued  early  in  the 
summer.  These  responses  indicate  that  a 
widespread  interest  is  being  taken  in  the 
project,  and  that  large  and  attractive  ex- 
hibits may  be  expected  from  Boston,  New 
York,  Rochester,  Pittsburg,  Cincinnati, 
Cleveland,  San  Francisco,  and  from  smaller 
towns  in  Pennsylvania,  New  Jersey,  Rhode 
Island,  Virginia,  and  California. 

Several  beautiful  exhibits  have  already 
been  received  from  England  and  India,  and 
others  are  expected  ;  also  some  from  Canada, 
Nova  Scotia,  and  South  America. 

The  time  and  place  for  holding  the  Exhi- 
bition have  not  yet  been  determined,  but  a 
decision  in  the  matter  will  soon  be  made 
and  duly  announced. 

The  Society  of  Amateur  Photogra- 
phers of  New  York  held  a  special  meeting 
September  22d,  in  plenty  of  time  to  catch  our 
last  issue,  but  we  did  not  receive  the  record 
until  October  12th,  nearly  three  weeks  after 
the  meeting.  As  an  enterprising  magazine 
we  decline  to  publish  stale  matter,  or  to  be 
behind  in  presenting  news  to  our  enter- 
prising readers. 

For  the  comfort  of  our  more  practical 
readers,  we  would  say  that  the  meetings  of 
this  Society  are  largely  devoted  to  the  ex- 
hibition of  apparatus  with  which  we  are  all 
familiar.     Our  amateur  friends  will  find  the 


368 


THE   PHILADELPHIA    PHOTOGEAPHEE. 


proceedings  published  in  full  by  the  maga- 
zines emanating  from  the  stockhouses,  into 
whose  hands  the  Society  seems  to  have  un- 
consciously lapsed. 

The  Pacific  Coast  Amateur  Photo- 
graphic Association. — Eegular  meeting 
of  the  Pacific  Coast  Amateur  Photographic 
Association,  held  on  Thursday  evening,  Oc- 
tober 8,  1885.  President  Smith  in  the 
Chair. 

Minutes  of  last  meeting  read  and  ap- 
proved. 

The  Committee  on  Exhibition  requested 
further  time  to  report.     Granted. 

Messrs.  Shafer  and  Haines  were  proposed 
for  membership.  Eeferred  to  proper  com- 
mittee. 

The  Prize  Print  Committee,  Messrs.  Oli- 
ver, Abadie,  and  Passavant,  were  granted 
one  week  further  time  to  report. 

After  considerable  discussion,  "Caught" 
was  chosen  as  the  subject  for  the  next  prize 
picture. 

The  Corresponding  Secretary  read  a  large 
number  of  communications  from  American 
and  foreign  amateurs  and  Photographic  So- 
cieties, and  passed  around  for  inspection 
about  a  hundred  exchange  prints. 

Mr.  Partridge  exhibited  the  Eastman 
Eoll-holder,  and  explained  the  working 
thereof.  The  beauty  of  the  workmanship 
and  ease  of  manipulation  elicited  much 
praise  from  the  members. 

Mr.  Gibbs  showed  several  fine  marine 
views,  and  also  an  instantaneous  whole-plate 
print  of  the  tug  "Kockaway,"  taken  upon 
an  Eastman  film.  The  negative  was  made 
late  on  a  cloudy  afternoon,  an  8  xlO  Koss 
lens,  middle  stop  being  used,  with  a  very 
quick  drop  working  behind  the  lens.  The 
exposure  was  about  Ti7  second. 

The  negative  is  clear,  bright,  fully  ex- 
posed and  full  of  detail,  and  is  a  practical 
proof  that  it  is  possible  to  do  good  instanta- 
neous work  with  paper  films.  The  negative 
was  developed  with  potash  and  sulphite. 

A  very  large  number  of  prints  and  nega- 
tives were  exhibited  by  the  different  mem- 
bers. 

At  a  late  hour  the  meeting  adjourned. 
W.  B.  Tyler, 

Cor.  Sec. 


At  two  o'clock,  Thursday  morning  last, 
the  large  paper  warehouse  of  Crocker  &  Co., 
Bush  Street,  San  Francisco,  caught  fire.  A 
general  alarm  was  soon  sounded,  and  Thurs- 
day noon  found  the  exhausted  firemen  still 
fighting  the  flames.  The  entire  building  was 
gutted.  Two  firemen  had  been  killed  by 
falling  ruins,  and  several  severely  wounded 
and  crushed.  Just  at  this  moment  an  enter- 
prising photographer  appears  on  the  scene, 
boldly  crosses  the  danger  line  and  blandly 
requests  permission  from  the  chief  engineer 
to  take  an  instantaneous  photograph  of  the 
scene.  The  obliging  chief  consents,  and  Mr. 
Photographer  carefully  sets  up  his  camera, 
focuses,  inserts  a  plate,  and  stands  ready  to 
seize  the  favorable  moment.  "Steady 
there,  boys  !"  yells  the  chief,  and  steady  it 
would  have  been  had  not  one  of  the  firemen 
slipped  on  the  wet  stones  of  the  street,  and 
the  hose  got  away  from  the  men  holding  it. 
There  was  a  wrestle  for  the  vagrant  line ;  a 
shower  of  water  falling  on  every  one  in  the 
vicinity,  while  the  photographer  and  his 
apparatus  go  scooting  down  the  street  pro- 
pelled by  the  force  of  the  water  gushing 
from  that  line  of  hose. 

This   is   the   quickest   change  on    record 
from  the  dry  to  the  wet  process. 

W.  B.  T. 
San  Francisco,  October  10,  1885. 


A  WORTHY  LIFE  ENDED. 

"Walter  Bentley  Woodbury. 

When  about  to  keep  our  promise  to  pre- 
pare a  sketch  of  the  life  of  our  dead  friend, 
we  feel  our  utter  inability  to  do  him  justice. 

We  thought  ourselves  able,  after  an  inti- 
mate friendship  of  nearly  twenty  years,  to 
tell  the  story  of  his  life.  But  it  has  been 
better  done  by  those  who  lived  nearer  to 
him,  and  who  saw  him  oftener  than  we 
could.  So  we  reproduce  from  the  Amateur 
Photographer,  on  another  page,  a  historical 
sketch  that  will  prove  interesting  to  all  who 
may  take  time  to  read  it. 

But  it  by  no  means  tells  all.  No  one 
ever  can  tell  all  that  was  done  for  our  art 
by  Mr.  Woodbury.  He  was  constantly  do- 
ing, and  his  life  was  a  most  busy  one.  We 
have  spent  many  happy,  interested  hours 
with  him  in  his  "dens  "  and  in  his  home, 


THE   PHILADELPHIA    PHOTOGRAPHER. 


369 


and  he  has  been  a  guest  for  weeks  at  a 
time  in  our  home — a  welcome  visitor  to  our 
office. 

The  last  time  we  saw  him  was  nearly  three 
years  ago  in  London,  en  route  to  the  Orient. 
He  met  us  at  the  Charing  Cross  station  and 
remained  with  us  several  hours,  doing  kind 
little  offices  for  us  until  the  departure  of  the 
Parisian  train.  A  few  months  later  we  re- 
turned to  his  home,  made  lovely  by  its  lo- 


cality, his  amiable  wife,  and  his  beautiful 
children.  We  shall  never  forget  our  last 
parting.  Little  did  we  think  then  it  would 
be  the  last.  Even  now  we  hear  the  little 
humming  sound  which  it  was  his  habit  to 
make  when  engaged  in  thought — a  happy, 
kindly  sound  it  was. 

Lovely,  amiable,  tender-hearted,  gener- 
ous Woodbury,  how  our  heart  sank  when 
we  learned  of  his  premature  end,  and  how 
our  fists  clenched  and  resentful  feelings  arose. 

Some  have  dared  to  insinuate  that  our 
friend  was  a  suicide.  Shame  upon  them  ! 
He  was  murdered  rather.  There  are  men 
—  wealthy  men  —  alive  now  upon  whose 
skirts  his  blood-stains  are.  Men  who  have 
robbed  him  of  his  rights — who  are  making 
money,  and  have  been  so  doing  for  many 
years,  from  the  fruits  of  his  inventive  ge- 
nius, and  upon  whom  we  call  now  to  divide 


with  the  widow  and  the  fatherless,  before 
their  names  are  made  public. 

In  his  very  last  letter  to  us,  written  but 
a  short  time  before  his  death,  he  alludes  to 
this,  and  mentions  one  of  the  parties,  or 
more. 

A  few  months  ago  (see  page  144  of  our 
present  volume)  a  committee  was  formed  to 
raise  a  fund  for  Mr.  Woodbury  to  enable 
him  to  recover  his  health  and  to  work  up  his 
inventions. 

Owing  to  the  un appreciative  element  in 
human  nature,  the  result  was  but  a  "sop." 

Deeply  did  our  friend  feel  it.  Eather 
would  he  have  had  no  effort  made  than  to 
have  had  so  little  result,  when  scarce  an  art 
store  exists  without  a  stock  of  the  lovely 
pictures  produced  by  one  of  his  processes. 

Oh!  Shame  upon  the  men  who  thus  gain 
wealth  at  the  expense  of  the  blood  of  the 
poor  inventor. 

Even  though  want  had  forced  a  sale,  the 
honest  man  would  turn  back  and  reward 
the  inventor  when  the  fruit  began  to  come. 
But  such  men  did  not  find  Woodbury.  Yet 
on  he  worked,  humming  his  cheery  little 
tunes,  a  faithful  devotee  to  our  art. 

The  process  of  which  he  was  most  proud 
was  his  "Photo-relief  printing  process." 
A  fine  example  of  it  was  given  in  the  Jan- 
uary, 1870,  issue  of  our  Magazine,  and  an- 
other one  in  the  Photo.  World,  January, 
1871. 

A  company  was  organized  in  this  country 
with  ample  capital,  and  superintended  by 
Mr.  John  Carbutt,  to  work  the  Woodbury 
processes,  but  the  effect  of  our  climate  upon 
the  gelatine  of  that  day  prevented  the  en- 
terprise from  being  a  success. 

Photolithography  rather  took  its  place, 
though  in  England,  France,  and  Germany 
it  is  still  practised  with  great  success  and 
with  lovely  results. 

The  plant  of  the  American  company  was 
sold  to  Jas.  E.  Osgood,  Esq.,  and  was  de- 
stroyed in  the  great  Boston  fire. 

For  lantern  slides  and  window  transpar- 
encies, the  Woodbury  process  was  excellent. 
All  the  slides  of  the  1876  Exposition  were 
printed  by  it,  and  we  have  some  valuable 
treasures  in  that  line. 

But  now  the  greatest  inventive  genius 
ever  given  to  our  art  is  ejone.     We  shall  see 


370 


THE    PHILADELPHIA    PHOTOGRAPHER 


him  no  more,  but  as  long  as  we  live  our 
fraternity  will  profit  by  his  labor. 

When  his  application  for  the  American 
patents  came  before  the  veteran  Patent  Of- 
fice Examiner,  Titian  K.  Peale,  Esq.,  he 
said,  "This  is  an  invention.  The  most  of 
the  things  which  come  before  me  are  modi- 
fications, but  truly  this  is  an  invention." 

Each  week  our  foreign  exchanges  bring 
us  mournful  tributes  to  the  memory  of  our 
dead  friend.  A  recent  letter  from  Dr.  Vo- 
gel  says  :  "  You  have  read  of  the  decease  of 
Woodbury.  How  sorry  I  am.  He  also 
was  one  of  the  people  who  worked  for  the 
progress  of  photography  without  thanks, 
and  without  being  paid  as  he  should  be." 

In  his  last  letter  to  us,  Mr.  Woodbury 
sent,  us  the  last  photograph  made  of  him, 
from  which  we  present  a  Levytype  above. 
He  says,  concerning  matters  photographic, 
etc.:  "I  had  a  bad  time  of  it  with  'diabe- 
tes,'—  a  nasty,  weakening  disease  —  but 
under  proper  treatment  my  health  has  much 
improved. 

"Mr.  Walker,  the  representative  of  the 
Eastman  Company,  called  on  me  some  time 
ago,  as  they  are  very  anxious  to  get  a  really 
transparent  medium,  but  mine  will  not  suit 
their  system  as  I  cannot  make  it  in  lengths. 
They  are  a  very  pushing  firm,  as  you  can 
judge  by  their  advertisements  in  this  country. 
See  in  today's  News  the  little  tribute  paid 
to  me  in  the  leader.  ...  I  will  send 
you  some  of  my  transparent  paper  in  a  few 
days  as  I  am  making  some  further  improve- 
ment in  it.  .  .  .  I  enclose  the  last  por- 
trait I  have  had  taken.  It  is  not  very  good, 
but  the  only  copy  I  have  of  it.  Kemember 
me  kindly  to  the  little  ones." 
Yours  ever  truly, 

W.  B.  Woodbury. 

Since  the  receipt  of  this  letter,  we  have 
met  Mr.  Walker — the  day  he  returned  from 
England — and  learned  the  particulars  of  Mr. 
Woodbury's  death. 

The  pangs  of  disappointment — the  feeling 
of  being  under-estimated,  under-paid,  and 
taken  advantage  of — wounded  him,  but  he 
bore  it  all  manfully  and  worked  away  until 
he  died. 

What  we  have  written  is  with  the  hope 
of  perpetuating  pleasant  memories  of  our 
common  benefactor. 


IS  PHOTOGRAPHY  TO  BECOME  A 

LOST  ART?    AN  ANSWER 

TO  THE  QUERY. 

BY  D.  BACHRACH,  JR. 

No  one  who  reads  the  article  in  the  Sep- 
tember number  of  this  journal  with  the 
above  question  for  its  heading,  but  must 
have  been  struck  with  the  extremely  pessi- 
mistic view  taken  by  the  author,  who  must 
have  had  good  cause  for  it,  probably  in 
similar  experiences  to  ours  in  this  city,  as 
well  as  in  some  other  quarters.  He  evi- 
dently alluded  to  portrait  photography  as  a 
business,  for  he  must  have  known  that  the 
science,  if  not  the  art  thereof,  must  be  prac- 
tised as  long  as  the  sun  shines.  Good  as  his 
cause  must  be,  I  still  cannot  help  thinking 
that  his  digestion  must  have  been  in  a  con- 
dition to  give  him  a  very  bilious  view  of  the 
matter.  His  comparisons,  taking  the  ill- 
fated  chromo  as  a  standpoint,  are  also  irrele- 
vant, as  he  can  convince  himself  by  a  little 
consideration  of  my  reasons.  There  are 
three  elements  entering  into  this  profession 
which  do  not  enter  into  that  of  the  chromo 
or  any  other  matter  having  close  relations 
to  this  subject.  First  and  foremost,  human 
vanity;  second,  the  affections  ;  third,  neces- 
sity. 

Any  portrait  photographer  of  long  experi- 
ence can  testify  to  that  peculiar  element  of 
human  vanity,  or  ambition,  to  be  presented 
to  the  surrounding  world,  either  by  name, 
fame,  or  more  largely  by  personal  impres- 
sion, in  the  most  favorable  light,  and  par- 
ticularly so  to  posterity.  And  the  one  who 
is  thought  capable  of  perpetuating  their 
personal  representation  i  n  the  most  favoi  able 
light  is  sure  to  receive  their  patronage.  Pho- 
tography has  placed  this  within  the  reach  of 
every  one  as  no  other  art  or  science  now 
known  can,  and  this  element  is  apart  of  hu- 
man nature.  Is  it  not  well  known  to  every 
observant  portraitist  how  sensitive  even  the 
most  intellectual  and  highly  cultivated  per- 
sons are  upon  this  subject,  be  they  as  homely 
as  ogres,  in  spite  of  all  efforts  to  hide  this 
feeling.  But  a  still  stronger  hold  has  por- 
trait photography  on  the  affections.  Every 
new  addition  to  a  family  has  its  hold  upon 
the  affections,  and  the  visit  of  the  shadow  of 
death   to   any   member   of  a  family  circle 


THE    PHILADELPHIA    PHOTOGRAPHER. 


371 


without  a  good  portrait  of  the  lost  one  as  a 
memento  is  now  looked  upon  as  a  double 
calamity.  I  can  testify  to  this  feeling  from 
my  own  experience,  and  to  me  the  portraits 
of  lost  ones  are  priceless,  and  photography 
offers  the  nearest  representation  of  actual 
personality  of  any  art  extant,  despite  the 
carpings  of  those  who  ask,  "Is  photography 
an  art?" 

How  much  more  value  our  history  would 
have,  did  we  possess  actual  photographic 
portraits  of  George  Washington,  Napoleon 
Bonaparte,  and  other  great  historic  charac- 
ters, instead  of  the  pictures  of  at  least  doubt- 
ful accuracy  that  we  possess !  But  when 
we  consider  of  what  priceless  value  photo- 
graphic portraits  of  the  noted  historical 
characters  of  the  earlier  centuries  would  be 
to  history,  we  can  see  that  photographic 
portraiture  has  become  also  an  actual  his- 
torical necessity.  It  is  now  as  much  a  ne- 
cessity as  any  essential  part  of  our  daily  life, 
and  all  attempts  of  the  so-called  fashionable 
world  to  taboo  photographs  always  have 
been,  and  always  will  be,  attended  by 
failure. 

As  photographic  portraits  have,  therefore, 
come  to  stay,  it  must  be  equally  evident 
that  various  degrees  of  skill  and  excellence 
must  always  obtain  their  just  reward.  If 
any  set  of  men  had  little  reason  to  become 
optimists  upon  this  subject,  it  would  cer- 
tainly be  the  photographers  of  this  city,  in- 
cluding the  writer,  who  have  been  cursed 
with  worse  charlatanry  and  degradation 
than  have  been  inflicted  upon  any  other 
community  of  photographers.  The  man 
who  had  grown  rich  from  the  patronage  of 
photographers,  possessed  of  ample  capital 
and  with  the  most  expensive  studio  in  the 
city,  with  all  the  arts  of  a  quack  medicine 
advertiser,  was  the  one  to  lead  in  its  degrada- 
tion. In  addition  to  this,  he  had  bought 
out  three  additional  studios  as  branches, 
making  pictures  at  the  lowest  prices  ever 
known  in  this  city  ;  and  yet,  in  spite  of  all 
this,  the  few  studios  who  obtain  the  best 
prices  are  doing  the  best  paying  business, 
after  a  bitter  contest  of  years  with  all  the 
odds  against  them.  But  when  I  see,  in  ad- 
dition, that  in  an  old  country  like  Germany, 
where  competition  is  keen,  and  artistic  skill 
much    more   plentiful   than    with   us,    the 


leading  studios  have  of  late  years  constantly 
advanced  their  prices,  until  now  fifty  and 
sixt}'  marks  per  dozen  for  cabinet  portraits 
(equal  to  from  $12  to  $14  of  our  money)  is 
obtained  for  not  a  few  of  them,  it  seems  to 
me  that  portrait  photography  is  not  to  be- 
come a  lost  art,  nor  remain  a  degraded  one. 


PHOTOGRAPHY  AND  ART  * 

BY  XANTHUS  SMITH. 

Our  friend  Mr.  Clements  has  paid  me  the 
compliment  to  ask  me  to  make  a  few  remarks 
to  you  this  evening  upon  matters  pertaining 
to  the  art  part  of  the  pursuit  of  photography, 
and  it  is  with  much  diffidence  that  I  comply, 
for  there  has  been  so  much  writing  and  talk- 
ing about  art,  in  its  various  phases,  during 
the  past  ten  years,  that,  instead  of  its  being 
a  subject  confined  to  professionals  and  a  few 
dilettanti,  as  formerly,  it  is  now  pretty  uni- 
versally discussed,  and  to  so  great  an  extent 
understood  that  I  can  scarcely  hope  to  give 
you  anything  new.  And  then,  too,  it  is  a 
subject  which  is  now  generally  considered 
does  not  come  under  rules,  but  is  governed 
solely  by  personal  fancy,  which  is  not  at  all 
surprising  when  we  see  how  widely  at  vari- 
ance are  the  views  of  the  most  eminent  and 
popular  critics  ;  and  even  artists  themselves, 
owing  to  their  training  in  one  school  of  art 
or  another,  differ  so  much  in  their  opinions 
of  what  constitute  merits  or  defects  in  works 
of  art,  that  what  I  have  to  say  to  you  must 
be  taken  simply  for  what  it  is  worth  as  sug- 
gestions, and  which,  if  at  all  in  conformity 
to  the  views  of  any  of  you,  may  form 
groundwork  for  thought  and  advancement 
of  the  subject  by  you. 

There  is  a  great  deal  of  discussion  now 
as  to  the  true  position  of  photography  in 
the  fine  arts ;  some  making  the  statement 
that  it  is  not  an  art  at  all — in  fact,  nothing 
more  than  a  mechanical  handicraft ;  but 
this,  I  think,  cannot  by  any  means  be  ad- 
mitted ;  for,  as  it  deals  with  precisely  the 
same  subjects  as  painters  do,  and  has  full 
power  in  the  important  qualities  of  drawing 
and  light  and  shade,  within  the  sphere  to 
which  it  is  limited,  it  has  the  power  to  make 

*  Paper  read  before  the  Philadelphia  Amateur 
Photographic  Club. 


372 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


complete  and  beautiful  works  of  art ;  and 
then,  from  its  powers  being  limited,  it  does 
not  follow  that  those  who  practice  it  need 
be  any  the  less  on  the  alert  to  make  the 
most  of  those  powers.  Indeed  it  might  be 
said,  I  think  truly  enough,  that  where  there 
are  no  chances  for  tricks  of  composition  or 
brilliant  effects  of  color  to  catch  the  eye,  the 
more  training,  knowledge,  and  taste  can  be 
brought  to  bear  by  any  one  using  the  camera 
as  a  means  of  reproductions,  the  better  it 
must  be  for  himself  and  his  work. 

Now  all  of  you  who  have  gone  out  with 
a  camera  to  take  landscape  views,  are  so  well 
aware  of  the  way  in  which  one  is  trammeled, 
by  the  want  of  the  power  which  the  painter 
has  to  seize  upon  the  essential  and  leave 
out  all  marring  features,  that  I  need  not 
dwell  upon  the  difficulties  encountered  in 
the  way  of  intervening  trees  and  bushes, 
commonplace  buildings,  fences,  and  tele- 
graph poles,  and  the  impossibility  often  of 
getting  a  proper  point  of  sight,  on  account 
of  the  ground  being  too  high  or  low;  but 
will  call  attention  to  some  of  the  essentials 
which  go  to  the  making  up  of  a  good  pic- 
ture;  so  that,  when  a  scene  in  nature  or  a 
group  is  found  which  conforms  to  these 
principles,  it  may  be  seized  upon  and  the 
most  made  of  it. 

Light  and  shadow,  composition  and  per- 
spective, are  the  qualities  which  we  have  to 
deal  with  ;  and,  as  photographs  are  upon 
fiat  surfaces,  the  same  as  paintings,  the  pho- 
tographer, like  the  painter,  should  seize 
upon  all  the  means  which  he  can  to  make 
his  distances  retire  and  foregrounds  advance. 
There  are  three  principal  devices  which 
conduce  to  this  result,  the  first  in  importance 
being  linear  perspective,  a  thorough  knowl- 
edge of  which  is  extremely  essential  to  the 
painter,  for  without  it  he  runs  into  all  man- 
ner of  absurd  blunders,  all  of  which  trouble 
the  photographer  is  spared,  as  his  lens  takes 
care  of  his  perspective  for  him,  with  one 
drawback,  however,  which  I  shall  refer  to 
further  on.  The  next,  and  a  very  important 
one  in  landscape,  is  atmosphere.  Either 
moisture  in  the  air,  or  smoke  or  dust,  which 
more  and  more  obscures  the  detail  of  each 
receding  passage,  sending  it  away,  and  mak- 
ing each  nearer  passage,  by  its  increased 
depth   of  shadow  and  detail  marking,  ad- 


vance so  nicely  to  the  immediate  foreground. 
And,  third  and  lastly,  composition,  by  a  skil- 
ful use  of  which  objects  are  gracefully  and 
agreeably  disposed,  prevented  from  running 
awkwardly  into  each  other,  and  nearer  ob- 
jects prevented  from  sticking  fast  to  those 
which  are  at  a  greater  distance,  thereby 
bringing  them  forward  beyond  their  proper 
place. 

In  relation  to  linear  perspective,  there  is, 
as  I  said,  little  difficulty  for  the  photog- 
rapher, provided  he  makes  a  careful  use  of 
the  swing  of  his  camera,  and  can  get  to  a 
sufficient  distance  to  prevent  too  sudden 
divergence  of  lines,  except  in  the  one  par- 
ticular, of  the  distortion  of  objects  by  most 
of  the  lenses  in  use,  by  which  nearer  ob- 
jects are  made  to  appear  entirely  too  large 
for  those  at  a  greater  distance.  This  is  a 
matter  about  which  there  is  a  good  deal  of 
discussion  at  present,  and,  even  if  I  were 
more  thoroughly  up  in,  would  cause  too 
much  digression  to  enter  upon  here;  but  I 
will  merely  say  that  this  distortion  hurts 
much  work  very  greatly,  and  takes  the  pic- 
ture-like or  artistic  appearance  out  of  it,  by 
giving  gigantic  proportions  to  some  ugly 
foreground  feature,  or  features,  and  by 
dwarfing,  taking  all  the  dignity  out  of  fine 
middle  distance  and  distant  passages.  Par- 
ticularly is  this  the  case,  I  think,  with 
mountain  scenery. 

Aerial  perspective  is  to  be  come  at  only 
by  working  on  atmospheric  days.  Perhaps 
I  attach  too  much  importance  to  this  quality, 
but  I  think  it  adds  an  immense  charm  to 
landscape  views,  and  it  is  on  this  account 
that  most  English  landscape  work  is  so  much 
more  picture-like  than  much  done  on  the 
Continent,  especially  in  the  Alps,  where, 
unlike  Britain,  the  air  is  very  clear,  passages 
of  distance  ten  miles  off"  appearing  as  a  part 
of  what  is  in  the  foreground.  And  in  this 
country,  too,  on  account  of  our  prevailing 
clear  air,  we  have  not  as  yet  paid  enough 
attention  to  atmospheric  affects.  And  if  a 
scene  can  be  found  with  a  number  of  inter- 
vening passages  from  the  foreground  to  the 
distance,  and  taken  when  there  is  enough 
intervening  haze  to  separate  each  passage 
nicely,  the  eye  will  be  gradually  led  into  the 
scene  and  an  amount  of  sentiment  and  pic- 
turesqueness  given,  which  would  be  impos- 


THE    PHILADELPHIA    PHOTOGRAPHER. 


373 


sible  of  an  absolutely  clear  day,  when  the 
shadows  would  he  as  black,  and  objects  as 
distinct,  miles  off  as  in  the  foreground.  Of 
course,  I  am  not  referring  now  to  work  done 
simply  as  views  of  places,  which  come  more 
under  the  head  of  the  topographical,  but  to 
the  making  up  of  agreeable  works  of  art. 

A  variety  of  means  are  used  in  compo- 
sition to  lead  the  eye  into  a  scene,  and  take 


never  be  so  agreeable  to  the  eye  as  where 
there  are  full  rounded  and  sweeping  lines  ; 
provided,  however,  that  these  be  not  portions 
of  circles,  for  so  much  is  the  eye  enticed  by 
variety,  that  rounded  lines  running  into 
straight,  or  broken  by  angles,  or  reversed, 
as  in  the  famous  line  of  beauty,  will  im- 
press much  more  agreeably  than  a  monot- 
onous series  of  parts  of  circles. 


""  V 


5V-   £ 


away  from  it  the  appearance  of  flatness.  As 
the  boundaries  of  a  picture  are  generally 
square,  a  scene,  in  order  to  be  picturesque 
and  agreeable  to  the  eye,  should  be  to  a  great 
extent  free  from  unbroken  horizontal  and 
perpendicular  lines,  because,  by  repeating 
themselves  and  also  repeating  the  horizontal 
and  perpendicular  boundaries  of  the  picture, 
they  give  a  stiffness  and  monotony  that  will 


We  all  know  how  troublesome  unbroken 
and  repeated  lines  are  when  we  come  to 
pose  a  figure  or  a  group  out  of  doors  about 
a  house  ;  doors,  windows,  and  veranda  posts 
and  rails  making  themselves  so  obtrusive 
that,  instead  of  the  attention  being  concen- 
trated upon  what  should  be  the  principal 
object  or  objects  of  the  picture,  it  is  bewil- 
dered   by   a   confusion    of    perpendiculars, 


374 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


horizontals,  and  angles,  which  is  ten  to  one 
heightened  by  another  set  of  angles,  in 
shoulders,  elbows,  and  knees ;  and  we  cer- 
tainly would  not  remedy  the  matter  if  we 
posed  our  group  against  the  ends  of  a  lot  of 
barrels  piled  up,  although  by  so  doing  we 
should  get  entirely  rid  of  regular  lines  and 
angles.  But,  if  we  hang  up  drapery,  we 
get  variety  of  lines,  or  if  we  can  have  foliage, 
or  a  wall  with  tbe  shadow  of  foliage  cast 
upon  it,  provided  we  can  get  a  quiet  passage 
back  of  the  principal  part  of  our  group,  we 
at  once  have  a  variety  that  is  agreeable. 
And  speaking  of  this  quiet  passage  back  of 
our  group  brings  us  to  a  consideration  of 
the  important  matter  of  light  and  dark,  a 
proper  distribution  of  which  in  a  picture 
goes  so  much  to  the  making  up  of  its  beauty. 
It  is  a  theme  given  much  attention  to  by 
painters,  and  should  be  held  no  less  in  im- 
portance by  photographers,  as  the  camera 
deals  principally  with,  and  shows  its  mas- 
tery in,  gradations  of  light  and  dark.  I 
can  say  nothing  though,  I  feel,  that  will  be 
new  to  you  in  regard  to  this,  so  well  aware 
you  all  must  be  of  the  importance  of  a  proper 
amount  of  half  light  and  half  shadow,  to 


prevent  harshness,  the  beauty  of  some  very 
clear  high-light  and  intense  shadow,  which 
gives  brilliancy  ;  and,  if  these  can  be  brought 
in  juxtaposition  in  agreeable  forms,  how  the 
attractiveness  and  pleasing  effect  of  the  pic- 
ture is  heightened  !  As  the  photographer 
has  not  the  power  always  to  arrange  these 
matters,  though,  as  the  painter  has,  he  is 
compelled  often  to  trust  to  chance  for  catch- 
ing such  effects;  and,  if  he  makes  many 
failures,  he  must  not  be  discouraged;  for, 
when  he  makes  a  successful  hit,  it  is,  indeed, 
a  success;  for,  as  it  is,  out  and  out,  nature's 
work,  it  is  free  from  any  conventionality 
which  a  painter  might  be  accused  of;  and 
then  an  exquisite  amount  of  truth  of  form 
and  detail  is  rendered,  beyond  the  reach  of 
painters. 

I  do  not  wonder,  gentlemen,  that  you  are 
carried  away  by  this  fascinating  pursuit, 
when  you  may,  at  an  odd  moment  of 
leisure,  and  as  a  mere  pleasing  pastime,  se- 
cure with  your  camera  a  beautiful  little 
picture,  and  so  finished  in  its  details  that  it 
surpasses  a  work  which  is  the  result  of  hours 
and  even  days  of  patient  labor  of  the  painter. 


A  well  attended  meeting  was  held  in  parlor 
No.  17,  Lindell  Hotel,  on  September  29th,  for  the 
purpose  of  organizing  an  amateur  photographic 
society  in  St.  Louis. 

Mr.  M.  H.  Wilcox  was  elected  Chairman, 
and  Jas.  A.  Shbrrard,  Temporary  Secretary. 
Messrs.  Behrens,  Olshausen,  and  Bishop  were 
appointed  a  committee  to  draft  a  constitution 
and  by-laws.  After  comparing  notes  and  ex- 
changing ideas,  the  meeting  adjourned  to  meet 
on  Monday,  October  12,  1885. 

The  outlook  here  is  very  promising  for  a  large 
and  influential  society. 

Jajies  A.  Sherrard, 

Temporary  Secretary. 

The  first  lightning-streak  picture  sent  us 
was  from  Mr.  A.  W.  Manning,  Edina,  Mo.,  some 
time  last  spring.  It  was  overlooked,  and  we 
failed  to  notice  it  at  the  time.  "We  have  received 
another  copy  from  Mr.  Manning,  which  is  a 
scientific  wonder  in  its  way.  It  proves  that  the 
electric  element  does  not  come  down  to  us  step 


by  step,  but  wriggles  in  gracefully  curved  lines, 
and  is  always  in  a  hurry. 

"Detective"  camera  pictures,  a  merry-making 
lot,  are  before  us  from  Mr.  Tyler,  the  amiable 
Secretary  of  the  Pacific*  Coast  Photographic 
Society.  One  is  of  our  unconscious  friend,  Mr. 
I.  W.  Taber,  talking  to  an  amateur  (the  "lion 
and  the  lamb  "  together) ;  and  others,  of  coast- 
sailing  life,  are  particularly  fine.  "  The  Meeting 
of  the  Waters"  is  one  of  the  finest  examples  of 
alkaline  development  we  ever  saw.  The  whole 
lot  is  fine. 


A  Staunch  Subscriber  says:  "  I  have  taken 
the  Philadelphia  Photographer  for  twelve 
years,  steady,  and  I  do  not  know  how  I  should 
do  without  it.  C.  S.  Gurney." 

Another  one  says  :  "  Your  magazine  is  chuck 
full  of  good,  interesting  news,  and  should  be  in 
the  hands  of  the  entire  photographic  brother- 
hood. A   W.  Manning." 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


375 


Pictures  Received. — From  Mr.  Coss,  Ken- 
ton, 0.,  some  examples  of  dry -plate  cabinet 
work,  vignetted,  posed,  and  lighted  very  credit- 
ably. Mr.  H.  E.  Noble,  Lincoln,  Neb.,  sends 
us  the  premium  baby-pictures  this  month.  A 
little  girl  (whether  a  Noble  one  or  not,  we  know 
not),  dressed  in  "old  clothes,''  is  very  sweet, 
but  she  is  prettier  in  her  "little  barefoot" 
costume.  Mr.  G.  L.  Hurd,  Providence,  R.  I., 
favors  us  with  an  8x10  picture  of  the  rapids 
above  Niagara  Falls — "  a  souvenir  of  the  Con- 
ventions—which is  a  marvel  of  careful  exposure, 
ready  development,  and  splendid  printing.  It 
hangs  in  our  study  to  bring  back  recollections 
of  happy  days  and  of  a  pleasant  friend. 

Items  of  News. — Mr.  Van  Loo,  the  talented 
Toledo  photographer  of  the  second  generation, 
received  a  nice  recognition  from  the  Detroit 
Trade  Journal.  The  Cleveland  Argus  has  been 
interviewing  our  veteran  master-photographer 
and  friend,  Mr.  J.  F.  Ryder,  on  amateur  pho- 
tography. Mr.  R.  opened  the  Argus'  eye  to  its 
satisfaction.  Mr.  E.  Long,  Quincy,  111.,  the 
solar  enlarger,  says  :  "Business  is  considerably 
ahead  of  last  year."  Good  !  may  it  be  enlarged. 
"Then  and  Now,"  was  the  subject  of  a  paper 
read  to  the  New  York  photographers,  October  6th, 
by  Father  Abram  Bogardus.  Mr.  G.  M. 
Carlisle,  Treasurer  of  the  P.  A.  of  A.,  says  his 
report  has  been  delayed  by  one  or  two  delin- 
quents who  have  not  yet  paid  up. 

Boston  Society  op  Amateurs. — The  third  an- 
nual exhibition  of  this  Society  will  be  held  in 
the  gallery  of  the  Boston  Art  Club,  corner  of 
Dartmouth  and  Newbury  Streets,  November  24, 
25,  26,  27,  and  28.  Packages  by  express  should 
be  marked,  Boston  Society  of  Amateur  Photog- 
raphers, care  of  Boston  Art  Club.  All  packages 
by  mail  should  be  sent  to  the  Secretary,  John 
H.  Thurston,  Cambridge,  Mass.  Those  intending 
to  exhibit  will  please  notify  the  Secretary  as 
early  as  possible. 


A  Sad  Errand. — Mr.  William  P.  Buchanan, 
of  the  firm  of  Buchanan,  Smedley  &  Bromley, 
of  this  city,  was  summoned  to  Covington,  Ohio, 
on  the  17th  inst.,  to  attend  the  funeral  of  his 
mother,  who  died  suddenly  the  previous  day. 

No  doubt  the  many  friends  of  Mr.  Buchanan, 
both  East  and  West,  will  sympathize  with  him 
in  this  severe  affliction. 


Mr.  A.  H.  Plecker,  Lynchburg,  Va.,  has 
occupied  his  new  art  gallery,  and  receives  much 
praise  from  the  press. 


"  The  Photographic  Beacon"  is  the  name  of 
the  new  (to  be)  photographic  magazine  to  be 
started  in  Chicago,  under  the  editorship  of  Dr. 
John  Nicol.     "  Independent." 

Mr.  F.  Jay  Haynes  is  now  running  a  "  palace- 
car  studio  ''  on  the  Northern  Pacific  Railway.  A 
grand  affair. 


Messrs.  A.  B.  Paine  &  Co.,  Fort  Scott,  Kan., 
have  opened  a  first-class  stock  depot  in  their 
city,  and  will  push  it  vigorously.  Success  to 
them. 

The  best  pictures  of  the  Flood  Rock  explosion 
at  Hell  Gate  have  been  sent  us  by  Messrs. 
Buchanan,  Smedley  &  Bromley,  Philadelphia. 
They  were  made  on  the  Ripley  plate,  for  which 
these  gentlemen  are  agents.  The  one  of  the 
explosion  is  a  magnificent  example  of  quick 
plate-work,  marvellously  soft  and  delicate. 


Mosaics,  1886. — Room  for  a  few  articles  only. 
Mr.  David  Cooper,  the  well-known  demonstrator 
for  the  Eastman  Dry-plate  and  Film  Co.,  says : 
"Mosaics  has  always  appeared  to  me  to  be  a 
kind  of  annual-experience  contribution,  and 
many  a  point  of  value  has  come  to  me  through 
its  columns,"  Mr.  Cooper  contributes  a  very 
useful  article  for  Mosaics,  1886. 


Our  Foreign  Appointment. — AVe  give  place 
to  the  letter  following,  and  call  upon  our  friends 
in  the  countries  named  to  contribute  papers  and 
exhibits  for  our  St.  Louis  Convention,  soon: 

E.  L.  Wilson,  Esq., 

Philadelphia,  Pa. 

Dear  Sir  :  I  have  the  honor  to  request  that 
you  act  as  solicitor  for  essays  and  exhibits  from 
France,  Belgium,  and  Denmark  for  the  next 
P.  A.  of  A.  Convention. 

You  will  also  please  write,  or  have  some 
competent  person  to  write,  a  paper  on  "  The 
Progress  of  Photography"  in  the  countries 
named. 

By  taking  this  step  now,  ample  time  is  given 
to  prepare  and  send  essays  and  exhibits  which 
shall  be  a  credit  to  the  intelligence  and  skill  of 
the  parties  concerned. 

Should  you  accept,  I  feel  assured  you  will 
undertake  the  task  with  "  heart  and  soul." 

Awaiting  your  acceptance,  I  remain 
Your  obedient  servant, 

W.  H.  Potter. 


Mr.  David  Cooper,  of  the   Eastman  Dry- 
plate  and  Film  Co.,  Rochester,  N.  Y.,  delivered 


376 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


a  practical  and  interesting  lecture  on  "  The 
Progress  of  Photography,"  at  Mr.  Conly's  rooms 
in  Boston,  October  8th,  to  a  large  and  interested 
audience.  The  Boston  Herald  reviews  the 
meeting  and  the  lecture  at  considerable  length. 
Thus  we  progress. 


New  and  Useful  Articles.  Try»  Them. — 
Kuhn's  Clearer,  for  removing  fog  from  dry-plate 
negatives.  Kuhn's  Reducer,  for  reducing  the 
intensity  of  dry- plate  negatives.  Kuhn's  Light- 
ning Intensifier,  for  dry  plates.  Kuhn's  Sen- 
sitized Paper,  Stretcher,  and  Dryer.  Peck's 
Compound  Film;  Foreground  Negatives,  with 
a  single  plain  portrait  negative,  may  be  com- 
bined in  a  great  variety  of  these  foregrounds. 
Samples  mailed  on  application.  All  for  sale 
and  recommended  by  Mr.  H.  A.  Hyatt,  St.  Louis. 


Stamp  Portraits. —-The  celebrated  inter- 
ference proceedings  in  the  U.  S.  Patent  Office, 
Kuhn  vs.  Hulbert  (Gennelli),  has  just  finally 
been  decided  against  Gennelli  and  in  favor  of 
Kuhn,  the  Board  of  Examiners  in  chiei,  and 
also  the  Commissioner  in  person,  having  awarded 
priority  to  Kuhn. 

All  photographers,  as  well  as  others*  are 
therefore  hereby  cautioned  against  hereafter 
purchasing  stamp  portraits  from  any  other  than 
the  undersigned.  Kuhn-  Bros., 

1513  &  1515  Olive  St.,  St.  Louis,  Mo. 


The  St.  Louis  Photographer  for  October 
supplies  an  admirable  illustration  of  the  truth 
which  can  be  secured  by  an  "untouched"  nega- 
tive. The  prints  are  of  a  tragedienne  in  charac- 
teristic attitude,  from  negatives  which  have  not 
been  worked  upon  by  the  retoucher.  The  effect 
is  surely  preferable  to  those  seen  in  the  many 
portraits  which  meet  our  eye  every  day,  remind- 
ing one  of  a  finely  chiseled  head  with  the  quarry 
marks  left  all  over  the  body.  It  is  fine.  The 
negative  was  made  by  Mr.  J.  A.  Scholten  on 
Cramer  plate.  Our  warm-hearted  contemporary 
seems  to  improve  every  month,  and  has  given 
us  a  useful  study  this  time  surely. 

A  Picture  of  Triplets— and  a  finely  caught 
trio  too — comes  to  us  from  M.  Mueller,  Owa- 
tonna,  Minn.,  together  with  a  number  of  other 
admirable  examples  of  his  work.  The  general 
appearance  of  the  picture  is  excellent.  The 
babies  triple  XLNT. 

Charles  Cooper  &  Co.'s  Chemicals  are,  we 
learn,  gaining  steady  popularity  among  the  craft, 
and  deservedly  so,  for  they  are  as  pure  as  the 
purest,  full  weight,  honest  measure  and  in  every 
way  equal  to  any  in  the  world.     Their  goods  are 


"standard,"   and   may   be   had  of  all   dealers- 
Send  for  the  price-list. 

The  retail  lantern-slide  trade  heretofore  con- 
ducted by  Edward  L.  Wilson  was  sold  September 
1st  to  Mr.  T.  H.  McAllister,  New  York.  (See 
advertisement.) 


Mr.  Hurd  is  heard  from  as  follows :  "  My 
attention  has  just  been  drawn  to  a  communication 
in  the  last  number  of  your  journal,  signed  John 
A.  Lorems,  charging  me  with  having  appro- 
priated, in  a  paper  I  read  at  the  Buffalo  Con- 
vention, the  ideas  embodied  in  an  article  con- 
tributed by  himself  to  the  Yonkers  Gazette.- 

"  It  is  with  a  becoming  sense  of  my  ignorance 
of  the  great  writers  of  photographic  literature 
that  I  confess  that  Mr.  Lorens's  name  is  entirely 
new  to  me.  I  am  glad  that  you  published  his 
article  entire,  so  that  your  readers  may  not  only 
have  the  advantage  of  its  perusal,  but  may  also 
be  able  to  judge  how  far  his  thunder  has  been 
stolen.  He  should  comfort  himself  with  the 
reflection  that  small  writers  can  scarcely  write 
at  all  without  poaching  upon  the  domain  of  men 
of  universal  knowledge. 

"  Very  truly  yours, 

"G.  L.  Hurd." 

[We  think  Mr.  Lorens  did  not  intend  to  find 
fault  with  Mr.  Hurd,  but  only  intended  to  re- 
mark the  coincidence  of  thought  in  the  two 
papers.  We  think  the  charge  of  plagiarism  was 
most  remote  from  his  thoughts. — Ed.  P.  P.] 


The  Photographic  Society  of  Philadelphia  is 
actively  preparing  for  its  exhibition.  Full 
particulars,  entry  blanks,  etc.,  are  to  be  had  of 
Mr.  Robt.  S.  Redfield,  Secretary,  1601  Callow- 
hill  St.,  Philadelphia.  Plenty  of  chances  for 
prizes. 


The  death  of  Mrs.  M.  E.  Hillyer,  wife  of 
Mr.  H.  B.  Hillyer,  Austin,  Texas,  has  cast  a 
sad  gloom  over  a  community  who  knew  her  well, 
and  afflicted  a  father  and  son  well  known  in  our 
art. 


Mr.  C.  M.  French  has  removed  to  Oneonta, 
New  York,  and  is  continually  busy  supplying  his 
"  ornamental  relief  borders."  (See  advertise- 
ment.) 


Mosaics,  1886,  will  be  a  splendid  book,  and 
ready  early  in  November.  (See  advertisement.) 
"  The  interesting  pages  of  Mosaics  are  always 
looked  forward  to  with  eagerness  by  me. 

C.  M.  French, 

Oneonta,  N.  Y.' 


MAKE  OUT  YOUR  OWN.  BILL,  and  remit  cash  with  your  advertisements,  or  they  will  not  he 
inserted. 

ADVERTISING  RATES  FOR  SPECIALTIES.— Six  lines,  one  insertion,  $2.00,  and  25  cents  for 
each  additional  line,  seven  words  to  a  line — in  advance.  Operators  desiring  situations,  no  charge.  Mattel 
must  he  received  by  the  23d  to  secure  insertion.  Advertisers  will  please  not  ask  us  for  recommendations, 
4®=-We  cannot  undertake  to  mail  answers  to  parties  who  advertise.  Please  always  add  your  address  to  the 
advertisement.    Postage-stamps  taken. 


SEAVBY'S  NEW  YORK  NOVELTIES. 
Fall  Season. 

Our  small  size  (6  ft.  x  8  ft.)  interior  and 
exterior  backgrounds  for  full  and  f  lengths, 
at  from  $9.60  to  $14.40,  have  struck  the 
popular  taste. 

They  are  new  in  design,  quiet  in  tone, 
first  class,  and  different  from  aDy  before 
offered. 

For  farther  description,  see  last  month's 
advertisement.     Send  for  samples.     For  the 
fall  season,  orders  should  be  given  now. 
Lafayette  W.  Seavey, 
216  E.  Ninth  St.,  N.  Y. 


Stop  the  Lens  Thief  !  $25.00  Reward. — 
Stolen,  from  our  branch  gallery,  96  South  Illinois 
Street,  September  23,  the  following  lenses  :  One 
2  B.  Dallmeyer  lens,  No.  13,397,  no  cap,  but  the 
central  stops  were  probably  taken  with  the  tube. 
One  3  B,  Dallmeyer  lens,  No.  12,695,  with  leather 
cap  which  had  been  repaired  with  silk  plush ; 
probably  three  of  the  central  stops  were  with 
this  tube,  and  in  addition  to  the  maker's  name 
engraved  on  it,  there  was  also  engraved  "  Sold 
by  William  Morley,  London."  One  set  of  four 
1-4  tubes  in  brass  plate  ;  one  cracked  lens  in  one 
of  the  tubes.  Three  1-9  tubes,  without  plate. 
If  such  lenses  are  offered  for  sale,  have  the  thief 
jailed,  get  his  name,  and  send  to  us  or  the  chief 
of  police  here,  and  we  will  have  him  sent  for. 
We  will  pay  the  above  reward  for  his  capture 
and  the  return  of  the  tubes,  or  one-half  the 
amount  for  a  return  of  the  tubes  or  information 
which  will  lead  to  their  recovery. 

Cadwallader  &  Fearnaught, 
16  and  18  E.  Washington  St.,  Indianapolis,  Ind. 


R0CKW00D  SOLAR  PRINTING  CO, 

17  Union  Square,  New  York. 

TIME. — It  is  our  intention  that  every  order 
received  in  the  morning's  mail  (when  not  to  be 
put  on  stretchers)  shall  leave  this  establishment 
the  same  day  or  the  following  morning.  If  too 
late  for  the  morning  work,  it  is  sent  on  the  seo- 
ond  day.  Having  our  own  engine  and  eleotric 
light,  we  are  not  at  all  dependent  on  the  weather, 
GEOKGE  H.  KOCKWOOD, 
Business  Manager. 


W.  F.  ASHE 

ARTISTIC   BACKGROUNDS 

AND 

ACCESSORIES, 

KEMOVED  TO  68  WEST  EOUKTH  ST., 
4  Blocks  West  of  Broadway,  N.  Y. 

My  new  studio  is  fitted  up  with  all  the  mod- 
ern improvements,  and  the  most  refined  demands 
from  a  critical  public  can  be  satisfied.  A  visit 
to  my  establishment^  which  has  the  largest 
showroom,  containing  the  greatest  amount  of 
stock  of  any  place  in  the  world,  will  be  grate- 
fully appreciated. 

I  have  again  added  numerous  new  designs  to 
my  great  variety  of  patterns  for  backgrounds 
and  accessories,  and  keep  also  in  stock  a  large 
quantity  of  goods  for  parties  to  select  from, 
saving  time  and  delay  on  orders. 


378 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


WILSON'S  PHOTOGRAPHICS. 

$4.00  $4.00 

The  Best. 


Look  into  it  for  anything  you  want ;  you 
are  pretty  sure  to  find  it.    The  Pho- 
tographers' Encyclopedia. 

Backgrounds!  Backgrounds!  Backgrounds! 
— I  undertake  to  paint  them  for  photographers. 
Send  for  particulars. 

M.  H.  Albee, 
Marlboro,  Mass. 

PORTRAITS  IN  CRAYON. 
The  new  book   by   E.   Long,   on   the   art  of 
making  portraits  in  crayon   on   solar  enlarge- 
ments, covers  the  entire  ground,  and  is  sold  for 
the  low  price  of  fifty  cents.     For  sale  by 

Edward  L.  Wilson, 

Philadelphia. 

METAL  GUIDES 

FOE 

A.  M.  COLLINS,  SON  &  CO.'S 
No.  26  Gilt  Bevelled-eece  Cabxs. 
The  fancy-shaped  mounts  now  so  fashionable 
among  photographers,  require  metal  guides  with 
which  to  cut  the  photographs.  They  are  now 
kept  on  hand,  and  can  be  supplied  in  the  follow- 
ing shapes,  and  at  the  prices  mentioned  : 

Each. 

Cf<>ss $1  05 

btar 1  00 

Palette 90 

Leaf qa 

Beii ;;;;;;;;;;;    H 

Crescent gO 

Egg ...'.'.'.'..'.       50 

Triangle ^ 

For  sale  by  Edward  L.  Wilson, 

1125  Chestnut  Street, 
Philadelphia,  Pa. 


KUHN'S 

Sensitized  Paper,  Stretcher,  and  Dryer. 

This  simple  arrangement  cannot  but  commend 
itself  to  every  practical  photographer.  Paper 
dried  in  this  manner  lies  perfectly  flat,  and 
therefore  better  prints  can  be  made,  and  you 
can  also  cut  your  paper  either  lengthwise  or 
crosswise  of  the  sheet,  as  it  neither  stretches  nor 
shrinks  afterwards.  In  addition  to  all  the  above 
advantages,  the  paper  is  much  more  easily 
handled  than  in  any  other  way ;  in  fact,  it  is  no 
trouble  at  all.  The  Stretchers  are  made  in  two 
sizes,  for  whole  or  half  sheets.     See  circular. 

Price,  either  size,  each  $1.50.  For  sale  by  all 
dealers. 

H.  A.  Hyatt,  Trade  Agent,  Dealer  in 

Photographic  Goods  of  every  Description. 
8th  and  Locust  Sts.,  St  Louis,  Mo. 


WILSON'S  PHOTOGRAPHICS 

Teaches  how  to  get  rid  of  every  monster 
and  trouble  in  the  practice  of  the  art. 

$4.00  $4.00 

M.  WERNER, 

PORTRAIT    ARTIST, 

No.  102  N.  Tenth  Street,  Philadelphia. 

Photographs  finished  in  crayon,  India  ink, 
water  colors,  and  pastel,  in  all  sizes,  in  the  very 
best  styles,  and  at  moderate  prices. 

Solar  Prints  and  Enlargements  Furnished, 


Every  photographer  in  want  of  excellent 
lenses,  for  any  purpose,  will  best  serve  his  interest 
by  consulting  the  new  illustrated  price-list  of 
Messrs.  Benjamin  French  &  Co.  before  pur- 
chasing, 


THE  PHILADELPHIA  PHOTOGRAPHER. 


379 


VOG-EL'S 

Photographic  Progress. 

$3.00  $3.00 

347  Pages. 

a 


A  word  for  all,  and  you  never  shut-ter 
without  learning  something  useful. 


KUHN'S 

Lightning  Intensifier  for  Dry  Plates. 

Owing  to  the  great  rapidity  of  Dry  Plates,  it 
often  happens  that  the  negatives  made  are  either 
over-  or  underexposed,  and  it  becomes  necessary, 
as  with  the  wet  process,  to  strengthen  them,  in 
order  to  get  good  results.  It  is  usually  done 
with  bichloride  of  mercury  and  iodide  of  potas- 
sium. But  this  has  serious  drawbacks,  as  plates 
intensified  by  this  method  require  a  great  deal 
of  washing,  and,  after  printing  a  quantity  of 
pictures  from  such  a  negative,  it  will  not  retain 
its  original  color,  but  turns  yellow,  and  then  a 
good  print  cannot  be  obtained.  This  Lightning 
Intensifier,  when  applied,  gives  a  beautiful  blue 
or  cherry  color  to  the  negative,  and  has  the  fol- 
lowing advantages :  It  stands  the  light,  and 
keeps  its  original  color ;  admits  the  light  through 
and  prints  beautifully.  Besides  this,  it  can  be 
applied  on  any  part  of  the  Plate  to  lighten  the 
deep  shadows,  etc.,  by  applying  with  a  soft 
camel's  hair  brush.  In  fact,  the  finest  results 
from  under-  or  overexposed  negatives  are  ob- 
tained if  these  solutions  are  used' as  directed. 
The  solutions  are  very  concentrated,  and  are  put 
up  in  two  bottles  containing  two  ounces  each, 
and,  when  diluted  to  proper  strength,  each  bottle 
makes  sixteen  ounces  of  solution,  or  it  can  be 
used  in  the  more  concentrated  form  if  required. 

For  sale  by  all  dealers. 

H.  A.  Hyatt,  Trade  Agent,  Dealer  in 
Photographic  Goods  of  every  Description. 
8th  and  Locust  Sts.,  St.  Louis,  Mo. 


THE  STANLEY  PLATES. 

Chicago,  May  30,  1885. 
Messrs.  E.  &  H.  T.  Anthony  &  Co. 

Gentlemen:  I  have  tried  the  Stanley  Plate 
you  sent  me  lately,  and  I  am  quite  satisfied  that 
it  is  as  good  a  plate  as  I  could  wish  for,  working 
quick,  clear,  with  fine  details  and  beautiful 
roundness  of  image.  I  tried  different  developers 
on  them,  but  find  the  pyro  and  potash  to  give 
the  most  satisfactory  results. 

Yours  truly,  H.  Rocher. 

New  York,  June  8,  1885. 
Messrs.  E.  &  H.  T.  Anthony  &  Co. 

My  Dear  Sirs  :  The  four  dozen  Stanley  Plates 
I  had  from  you  last  week  were  all  that  could  be 
desired — rapid,  intense,  and  with  not  the  slight- 
est disposition  to  fog.  For  instantaneous  ex- 
posures of  steamers  under  full  headway,  I  gave 
1-50  of  a  second ;  for  reproductions  by  gaslight, 
5  seconds;  for  ordinary  negatives,  15  feet  dis- 
tant from  a  common  gas-burner,  and  the  contrast 
of  the  pure  white  and  black  is  remarkable.  I 
am,  very  truly  yours, 

J.  J.  Higgins,  M.D., 
23  Beekman  Place. 


WILSON'S  PHOTOG-RAPHICS. 

All  about  emulsion  worls  and  plate  mak- 
ing—a whole  hig  chapter.    See  index. 

$4.00  Buy  it.  $4.00 


Address  T.  "W.  Power,  N.  Y.,  Secretary  of 
Association  of  Operative  Photographers  of  New 
York  City,  for  operators,  printers,  and  re- 
touchers  392  Bowery,  or  487  Eighth  Avenue. 


380 


THE    PHILADELPHIA    PHOTOGKAPHEft. 


List  of  Articles  fob  Sale  and  Prices  for 
Same. — All  cameras  in  list  are  American  Optical 
Company's  best  quality.  Used  by  Edward  L. 
Wilson  at  the  New  Orleans  Exhibition : 

Bach. 
1  10  x  12  D.  S.  B.   Revolving  Camera 

Box,  back  focus      .        .         .         .  42  00 

1  Hinged  Tripod 3  50 

4  14  x  17  New  Style  Plate  Holder,  extra     9  00 

20    15  x  8        "  "  "         1  35 

2  14  x  17  Flat  Printing  Frames     .         .     2  00 
4  10  x  12  "  "  .  70 

10    8x10  "  "  .  60 

100    5x8  "  "      $45  per  100         50 

6  Drying  Racks 30 

Cash.     All  guaranteed  in  good  order. 
Address  Edward  L.  Wilson, 

1125  Chestnut  Street, 

Philadelphia,  Pa. 


THE  PLATINOTYPE  (Patented). 

Send  ten  cents  for  instructions  and  sample, 
portrait  or  landscape. 

WILLIS  &  CLEMENTS, 

25  North  Seventh  St.,  Philadelphia,  Pa. 

BUCHANAN,  SMEDLEY  &  BROMLEY, 

General  Agents  for  the  sale  of  materials. 


For  Sale  Cheap. — The  best  photo  wagon  in 
the  country.     Address 

W.  W.  Silver, 
102  Fulton  St.,  New  York. 


For  Fall  Advertising,  try  "A  Quiet  Chat 
on  the  Prices  of  Photographs,"  by  the  Chief 
Photographer,  to  his  patrons. 

This  little  leaflet  has  been  compiled  with  the 
view  of  helping  you  to  raise  your  prices.  Look 
it  over  carefully  and  see  if  you  cannot  make  it 
serve  you  a  good  purpose.  Nerve  yourself  up 
in  the  matter.  Make  the  effort  and  you  will 
succeed. 

You  can  have  whatever  you  want  on  the  first 
and  fourth  pages  of  the  cover  without  extra 
charge.  Add  your  new  scale  of  prices,  and  get 
advertisements  to  help  pay  you.  The  rest  is 
stereotyped. 

Prices. 

1000  copies  ....  $15.00 

3000      "  ....     36.00 

5000      "  ....     50.00 

Send   for    sample   copy.      It   will   help   keep 

prices  up. 

Edward  L.  Wilson,  Publisher, 
1125  Chestnut  St.,  Philadelphia. 


S  &  M. 

Caution. — The  genuine  and  original  S  &  M 
Extra  Brilliant  Paper  always  has  the  water 
mark  S  &  M  in  every  sheet. 

A  good  deal  of  paper  is  sold  with  merely  the 
stamp  in  the  corner.  This  may  be  good,  and  it 
may  not,  according  to  what  paper  is  used  by  the 
parties  who  want  to  work  it  off  by  putting  on  a 
stamp  that  has  a  reputation. 

Look  through  the  paper  for  the  water  mark. 
E.  <fc  H.  T.  Anthony  &  Co. 


Wanted. — A  first-class  artist  in  crayon,  India 
ink,  and  pastels.  To  such  a  good  salary  will  be 
paid.     Address 

Edward,  Care  Allen  Bros., 
Detroit,  Mich. 


For  Sale. — A  gallery  established  ten  year?, 
averaging  a  business  of  $800  per  month.  Well 
supplied  with  instruments,  backgrounds,  etc. 
Prices  good.  No  club  work.  Will  sell  whole  or 
half  interest  to  right  party.  Don't  write  unless 
you  have  some  ready  cash.     Address 

Operator,  Care  of  Geo.  Murphy, 
250  Mercer  St.,  New  York. 


For  Sale. — The  most  complete  portable  pho- 
tographic house  ever  built;  39  feet  long,  18  feet 
wide,  8  feet  high,  12  feet  in  centre,  6x6  feet 
dark-room,  dressing-room,  printing-room,  recep- 
tion-room. Cost,  one  year  ago,  $300.  Will  sell 
for  $150  cash.  Ill  health  cause  of  selling.  Ad- 
dress Deane, 

306  Preston  St.,  Houston,  Texas. 


What  the  Suter  Lens  did. — I  saw  last  week 
a  very  large  photograph  which  was  sent  from 
New  Orleans  to  Allen  Brothers,  of  this  city, 
which  is,  perhaps,  the  best  picture  ever  taken. 
It  was  done  by  Edward  L.  Wilson,  photographer, 
author,  and  traveller,  who  has  charge  of  the 
photographic  business  at  the  great  Exhibition. 
The  picture  was  of  the  British  Honduras  section 
at  the  Exhibition,  and  the  amount  of  well-defined 
detail  was  nothing  short  of  marvellous.  The 
netting,  lettering,  etc.,  and  the  thousand  differ- 
ent articles  that  made  up  the  British  Honduras 
exhibit,  were  all  shown  as  perfectly  as  if  each 
piece  had  been  photographed  separately  under 
the  best  light.  The  work  was  done  by  a  Suter 
lens,  a  lens  made  in  Switzerland. — Luke  Sharp, 
in  Detroit  Free  Press. 


THE    PHILADELPHIA    PJEOTOGEAPHEE. 


381 


CIRCULAR  TO  THE  TRADE. 

I  have  this  day  sold  to  Mr.  T.  H.  McAllister, 
49  Nassau  St ,  New  York  City,  my  entire  stock 
of  imported  lantern  slides,  and  have  transferred 
my  retail  business  to  him.  I  take  pleasure  in 
recommending  him  to  my  former  customers. 
They  will  find  in  his  establishment  the  largest 
and  best  assorted  stock  of  views  in  the  world, 
and  the  most  approved  styles  of  lanterns,  stere- 
opticons,  and  apparatus,  as  will  be  seen  by  a 
perusal  of  his  136  page  illustrated  catalogue, 
which  he  forwards  on  application. 

I  continue  to  manufacture  all  my  personally 
made  slides,  detailed  in  my  catalogue  on  pages 
15  to  37  inclusive,  and  also  the  following  series : 

Centennial  Exhibition,  pages  46  to  48. 

Journeys  in  Foreign  Lands,  pages  63,  64. 

Switzerland  of  America,  page  78. 

Colorado  and  New  Mexico,  pages  80,  81. 

Statuary,  pages  82  to  84. 

Thorwaldsen's  Statuary,  pages  86  to  91. 

Piton's  Foreign  Comiques,  page  96. 

Zoological  Garden,  page  97. 

Miscellaneous,  page  98. 

Clouds,  Snow,  and  Ice,  page  99. 

New  Dissolving  Views,  pages  122  to  134. 

Sold  to  dealers  in  slides  only — plain,  or  colored 
by  Briggs.  I  continue  to  make  slides  for  ama- 
teurs and  lecturers,  to  order,  from  their  own 
negatives,  or  from  anything  that  can  be  photo- 
graphed. 

Slide  making,  plain  or  colored,  of  the  finest 
style  of  the  art — the  best  in  the  world.  All 
dealers  will  keep  my  slides  catalogued  above. 

Send  your  orders  for  special  slides  to  order 
direct  to  my  office. 

A  needed  slide  can  be  made  and  shipped  the 
day  the  order  is  received. 

My  facilities  are  unequalled  in  the  world. 
References — all  over  the  world,  and  twenty 
years  at  it.  Edward  L.  Wilson, 

1125  Chestnut  St., 
Philadelphia,  Pa. 

Philadelphia,  Sept.  1,  1885. 


CAMERA,  FIELD,  AND  BOOK. 

A  Magazine  Devoted  to  Out-and  In- 
door Literature  and  the  Camera. 

No  amateur  can  afford  to  do  without  it. 
Specimen  copy  free.  One  year,  $1.00 ;  6  months, 
50  cents ;  three  months,  25  cents.  Send  silver 
or  currency  by  registered  letter  at  our  expense. 
Address  Camera,  Field,  and  Book, 

Bristolville,  Ohio. 


For  Sale. — One  of  the  most  popular  and 
prosperous  galleries  on  Broadway,  New  York. 
Strictly  first-class.  None  but  the  appreciative 
need  apply.     Address         M.  A.  E., 

Care  of  E.  L.  "Wilson, 
Philadelphia  Photographer, 
Philadelphia,  Pa. 


On  30  Days'  Trial.— Upon  receipt  of  $2.00,  I 
will  send  my  Automatic  Retoucher;  C.  0.  D., 
$5.00.  Express  agent  will  hold  money  and  re- 
fund it  if  not  satisfactory.     E.  A.  Gilbert, 

Jamestown,  N.  Y. 


For  Sale. — The  leading  gallery  in  Living- 
ston County,  Michigan,  at  a  reasonable  price. 
Gallery  is  fitted  with  the  best  north  light,  best 
location;  one  opposition;  county  seat:  popula- 
tion 3000.  Good  farming  country.  For  particu- 
lars address,  with  stamp,  N.  P.  Jensen,  Howell 
P.  0.,  Box  643,  Livingston  Co.,  Mich.  No  postal 
cards  noticed. 


Fine  Portraits. — Those  wishing  to  make  the 
finest  enlargements  on  albumen  or  plain  paper, 
equal  to  contact  work,  from  card  and  cabinet 
negatives,  without  reducing  them,  by  a  new  and 
rapid  process,  enclose  stamp  at  once  for  particu- 
lars. E.  A.  Gilbert, 
Jamestown,  N.  Y. 

SITUATIONS  WANTED. 

No  charge  for  advertisements  under  this  head:  limited 
to  four  lines.    Inserted  once  only,  unless  by  request. 

As  operator  in  a  good  gallery,  or  would  run 
on  shares,  with  the  privilege  of  buying.  Ten 
years'  experience.  Address  Box  199,  Ovid, 
Mich. 

By  an  operator  of  fifteen  years'  experience. 
Understands  all  branches  of  the  business.  Ad- 
dress "E,"  112  E.  Canal  St.,  Richmond,  Va. 

By  a  German,  who  has  a  thorough  knowledge 
of  retouching,  coloring  and  working  in  crayen 
and  pastel  upon  life-size  enlargements.  Best  of 
reference.  For  particulars,  address  Paul  Gunter, 
Marien  Strasse,  Hanover,  Germany. 

By  a  photographer  of  experience  and  well  up 
in  dry-plate  work,  as  operator.  Competent  to 
manage  a  good  gallery.  For  samples,  etc.,  ad- 
dress Photographer,  420  First  St.  N.  W.,  Wash- 
ington, D.  C. 


382 


THE    PHILADELPHIA    PHOTOGRAPHER. 


By  a  young  man  of  two  years'  experience,  a 
position  as  retoucher  or  printer.  References. 
Address  N.  D.  Page,  Norwood,  St.  Lawrence  Co., 
N.  Y. 

In  Washington,  D.  C,  or  New  Bedford,  Mass., 
by  a  young  man  who  can  print  and  tone,  and 
make  himself  generally  useful,  but  wants  to 
learn  more  of  the  business.  Address  "  C.  A.  R," 
Lock  Box  97,  Rutland,  Vt. 

By  a  retoucher,  with  fifteen  years'  experience. 
First-class  samples  and  references.  Address  M. 
J.  Gmelch,  1000  Vine  St.,  Philadelphia. 

As  operator  in  a  strictly  first-class  gallery. 
Samples  sent.  Address  L.  D.  Thompson,  179 
Duffield  St.,  Brooklyn,  N.  Y. 

As  retoucher  or  assistant  operator.  Worked 
for  Edward  L.  Wilson  at  the  New  Orleans  Ex- 
hibition, and  refer  to  him  Address  A.  A.  Bald- 
win, Ludlow,  Vt. 


As  reception  lady.  Good  retoucher,  and  ca- 
pable of  assisting  in  general  gallery  work.  Ex- 
perience in  first-class  galleries  of  Cleveland, 
Ohio.  Address  Miss  M.  L.  E.,  Box  31,  Wood- 
stock, Ontario,  Canada. 

By  a  first-class  artist,  as  operator  or  retoucher. 
A  moderate  salary  required.  Address  Photog- 
rapher, 46  Boliver  St.,  Cleveland,  Ohio. 

Will  be  open  for  an  engagement  January  1st. 
Samples  will  be  sent  on  application.  See  notice 
of  work  in  Philadelphia  Photographer.  Ad- 
dress H.  G.  Coss,  Lock  Box  131  Kenton,  Ohio. 

By  a  young  lady  to  retouch.  Will  send  sam- 
ples if  required.  Address  Nellie  Reed,  Lyons, 
Clinton  Co.,  Iowa. 

Correspondence  solicited  with  a  party  desirous 
of  engaging  an  operator;  one  who  is  up  to  the 
times,  and  possesses  ability  and  experience. 
Address  Photographer,  No.  231  31st  St.,  Chicago. 


The  Finest  Negatives  of 

FLOOD  ROCK  EXPLOSION  at  HELL  GATE 

WERE  MADE  ON 


(See  Scientific  American  of  Oct.  17,  1885.) 

The  RIPLEY  PLATE  is  the  Plate  upon  which  absolute  reliance  can  be  placed.  Only  the 
finest  glass  obtainable  is  used  in  their  manufacture,  selected  of  uniform  thickness,  and  cut  to  exact 
size.  The  most  extreme  care  is  taken  to  render  them  both  mechanically  and  technically  perfect. 
They  are  consequently  the  only  really  cheap  plate  in  market,  and  are  absolutely  indispensable  alike 
to  professional  and  amateur  photographers  who  desire  to  produce  the  finest  possible  pictures. 

BUCHANAN,  SMEBLEY  &  BROMLEY, 

No.  25  North  Seventh  Street. 


General  Agents  for  Phila. 


F.  DRESCHER  &  CO.'S 

Improved  Gelatine  for  Emulsion. 

*■  (HARD  AND  SOFT  QUALITY.) 

We  beg  to  request  our  friends  to  give  us  their  orders  for  supply  during  the  winter.  The  steadily 
increasing  demand  for  this  celebrated  make  is  a  proof  of  its  superiority  over  all  other  products. 
It  has  no  rival,  and  is  specially  known  for  its  purity  and  fine  body. 

Write  for  samples  for  trial.  Obtainable  of  the  SCO  FILL  MFG.  CO.,  New  York, 
or  direct  from  the  manufacturers, 

F.  DRESCHER  &  CO.  GELATINE  WORKS, 

Oberndorf-ScIitveinfurt-on-Main,  Germany. 


THE   PHILADELPHIA   PHOTOGKAPHER. 


383 


GAYTON  A.  DOUGLASS. 


HENRY  G.   THOMPSON. 


Douglass,  Thompson  &  Co. 

229  &  231  State  St,  Chicago,  111. 

MEECHANTS  IN  SUPPLIES  FOR  THE 

Art-Soienoe  of  ^*la.oXo&i?&k,i£>lci.y 

Photographers'  Booksellers,  Stationers,  and  Newsdealers. 


CARBUTT'S 

Keystone  Dry  Plates 

AND  PHOTOGRAPHIC  SPECIALTIES. 

Specials  for  Portraiture. 

A.  for  Transparencies. 

B.  for  Landscapes  and  General  Pho- 
tography. 


OPAL    PLATES,  Gelatino- Albumen  or  Gelatino- 
Chlorides,  for  Positives  and  Transparencies. 


-   n 


©*i^s\ 


Multum  in  Parvo  Dry-Plate  Lantern. 

Carbutt's  Pyro.  and  Potash  Developer,  Concentrated, 

Two  8oz.  bottles  75  cents. 

Kuby  Paper  and  Negative  Varnish. 


FOE  SALB  BY  ALL  DEALEBS. 


JOHN  CARBUTT,  Keystone  Dry-Plate  Works, 

Wayne  Junction,  Philadelphia,  Pa. 

HODGE   &  HUSTON, 

THE    SOLAR   PRINTERS, 

622  ARCH  STREET,  PHILADELPHIA. 

PERMANENT  PRINTS  BY  THE  PLATINUM  PROCESS. 

ELECTRIC  LIGHT. 


384  THE    PHILADELPHIA    PHOTOGKAPHEK. 

Beck's  Autograph  Rectilinear  Lenses. 


These  extraordinary  lenses  at- 
tracted universal  attention  at  the 
late  Buffalo  Convention  ;  the"  speci- 
mens of  work  in  Portraiture, 
Groups,  Landscapes,  Instantaneous 
Views,  etc.,  executed  by  them  being 
of  unequalled  excellence.  A  life- 
sized  head,  made  with  the  8  x  10 
lens  of  13  inches  focus,  was  con- 
sidered by  the  experts  present,  as 
being  far  ahead  of  any  similar  per- 
formance ever  seen.  A  full  de- 
scription of  these  and  our  other 
specialties  will  be  found  in  our  full 
catalogue.     Mailed  Free. 


W.  H.  WALMSLBY  &  CO., 

Photographic  Stockdealers.  1016  Chestnut  St.,  Phila.,  Pa. 


FRENCH'S 


ORNAMENTAL 


Relief-Border  Flexible  Negatives. 


Three  New  and  Elegant  Designs 

for  the  HOLIDAY   SEASON  of  isss-e. 


Far  superior  to  negatives  on  glass.  Will  not  break,  are  flexible,  durable,  and 
permanent.  Print  quickly,  soft,  and  brilliant.  Each  negative  suitable  for  three 
sizes  of  pictures :  CABINET,  PROMENADE,  and  PANEL. 

All  three  negatives  in  one  clasp  envelope,  by  mail,  to  any  address  for  $2.25, 

They  will  not  be  sold  singly.     Nearly  all  dealers  in  photographic  materials  will  keep 

Patented      both  negatives  and  sample  prints  in  stock.     Sample  prints  furnished  free  on  appli- 

Copyrighted    cation.     Send  to  your  dealer,  or  to 
Aug.,  1885. 

O-    ISO-.    l^FLEZNCtt, 

Inventor  and  Manufacturer, 
Formerly  of  Garrettsville,  Ohio.  ONEONTA,  N.  T. 


THE  PHILADELPHIA  PHOTOGEAPHEE. 


385 


720  {5  gross)  of  these  trimmers  were  sold  to  one  party  in  July. 

ROBINSON'S 
NEW  MODEL 


PHOTOGRAPH  TRIMMERS ! 


These  invaluable  instruments  are  already  used  all  over  the  country,  and 
now,  a  change  of  form  having  permitted  an  immense  reduction  in  price, 
they  must  soon  be  UNIVERSALLY  USED  as  they  afford  a  quicker, 
better,  and  less  expensive  means  of  trimming  photographs  than  any  other. 
The  inventor  assures  photographers  that  his  trimmers  can  be  used  with 
greater  ease  when  held  as  indicated  in  the  drawings  below.  These  trim- 
mers are  now  made  entirely  of  metal,  and  in  quality  are  fully  equal  to  those 
of  the  old  model.  They  answer  for  oval,  round,  arch  top,  and  square 
work. 


Plan  of  holding  the  Straight    Cut  Trimmer 
when  in  use.     PRICE,  50   CENTS. 


Plan  of  holding  the  Revolving  Trimmer  when  in 
use.     PKICE  (with  one  card  guide)  $1.00. 


OVALS. 

2x2£ 

3|x4f 

5x7 

6ix8i- 

2£x3£ 

3fx4f 

5£x7i 

6£x8£ 

2£x3£ 

3£x4£ 

5£x7£ 

7x9 

2|x3f 

3fx5£ 

5fx7f 

7^x91 

2fx3| 

4x5| 

5fx7^ 

7£x9£ 

21x4i 

4fx6f 

6x8 

7fx9| 

OIOIKTSOKT'S     GUIE 

MADE  OF   SHEET-IRON. 
We  have  the  following  Regular  Sizes  always  on  hand  at  io  cents  per  inch  the  longest  way  of 
the  aperture. 

SQUARE  OR  ROUND  CORNERED. 
2jVx3|  2^x31  2fx4£  4x5| 

2£x3f  2^x3£  2|x4f        4£x5£ 

2£x3£  2fx4£  3£x5£        3fx6 

2T\x3if  4x6£ 

FOR  STEREOGRAPHS. 
Arch  Tops.  Round  Cornered.  Round. 

3TVx3|,  3x3         3T^x3f,  3x3  3x3 

The  above  sizes  suit  the  Collins  Card  Mounts,  and  photographers  knowing  that  they  can  be 
always  had  at  the  low  price  of  ten  cents  per  inch,  would  do  well  to  make  their  sizes  accord,  as 
orders  can  also  be  filled  more  quickly.     Ten  days  are  required  to  make  special  sizes. 

Special  Sizes  made  to  order,  at  15  cents  per  inch,  the  longest  way  of  the  aperture. 

ROBINSON'S  PHOTOGRAPH  TRIMMERS  are  substitutes  for  the  Knife  for  Trimming 

Photographs,  and  do  the  work  much  more  expeditiously  and  elegantly. 

They  Save  Time,  Save  Prints,  and  Save  Money. 

They  do  not  cut,  but  pinch  off  the  waste  paper,  and  leave  the  print  with  a  neatly  beveled  edge 
which  facilitates  adherence  to  the  mount.  Try  one,  and  you  will  discard  the  knife  and  punch  at 
once.     For  ovals  and  rounded  corners  they  are  worth  their  weight  in  gold. 

aFnrDeaaieeri;  EDWARD  L.  WILSON,  Manufacturer's  Agent,  1125  Chestnut  St.,  Pliilada 


386 


THE    PHILADELPHIA    PHOTOGRAPHER 


a 


THE    3VLOTJKTID    OITY 


?? 


Photographic  Stock  House 


Offers  the  Most  Complete  line  of 

Photographic    Apparatus,    Chemicals, 

Picture  Frames,  Mouldings,  Mats, 

Albums,  Etc.,  in   the   market, 

at  bottom  prices. 

Professional  and  Amateur  Outfits  a  Specialty, 

AGENT  FOR 

KUHN'S  LIGHTNING  DRY-PLATE  INTENSIFIED 


KUHN'S  SENSITIZED  PAPER  STRETCHER  AND  DRYER. 

Address 

H.  A.  HYATT, 

8th  &  Locust  Sts., 

ST.  LOUIS,  MO. 


Send  for  Illustrated  Catalogues  of  Photographic  Goods  and  Picture  Frames. 


ALBERT  MOORE  » SOLAR  ENLAR6ER, 

THE  LONGEST,  LARGEST,  AND  BEST. 

828  Wood  Street,  Philadelphia. 

PHOTOGRAPHIST  HITTHEILUNGEN. 


We  are  now  prepared  to  receive  subscriptions  for  Dr.  Hermann  W.  Vogel's  magazine  bearing 
the  above  title.  _ 

The  MITTHEILUNGEN  is  published  in  German  and  is  issued  semi-monthly  at  $3.00  per  year, 
postage  paid.     To  all  of  our  German  photographers  and  many  others  this  will  be  considered  a 
desirable  opportunity. 
The  Magazine  is  published  a  t  Berlin.     Subscriptions  received  by 

EDWARD    L.   WILSON, 

1125  Chestnut  Street,  Philadelphia,  Pa. 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


387 


WILSON'S  PHOTOGRAPHIC 


-|. .£. .|» 


<\(^^ 


|. .<§.. .J- 


^n  WWf^W  ©N  EYE^Y  B^^CP  @E  PP@¥06^PPY.^ 


THE  PHILADELPHIA  PHOTOGRAPHER. 

A  monthly  Magazine,  illustrated  by  photographs  of  superior  merit. 
$5.00  a  year;  $2.50  for  six  months. 

Stands  ahead  of  all  its  kindred.     Twenty-one  years  of  success  is  a  sufficient 
guarantee  of  its  value  and  use  to  the  practical,  working,  growing  photographer. 
Do  not  go  without  its  valuable  help. 

WILSON'S  LANTERN  JOURNEYS. 

By  Edward  L.  Wilson.     In  Three  Vols. 
Price,  $2.00  per  vol. 

For  the  lantern  exhibitor.     Gives  incidents  and  facts 
in  entertaining  style  of  about  2000  places  and  things, 
including  200  of  the  Centennial  Exhibition. 

WILSON'S  PHOTO  GRAPHICS 

THE   NEWEST  AND   MOST  COMPLETE 

PH0T0GKAPHIC   LESS0N-B00K. 

Covers  Every  Department. 

352  Pages.   Finely  Illustrated.    Only  $4.00. 

By  Edward  L.  Wilson. 

THE  FERROTTPER'S  GUIDE. 

Price,  75  cents. 

Cheap  and  complete.     For  the  Ferrotyper,  this  is  the 
only  standard  work.     Seventh  thousand. 

THE  PROGRESS  OF  PHOTOGRAPHY 

SINCE:  1879. 

By  Dr.  H.  Vogel.     Price,  $3.00. 

Issued  July  15th,  1883.     A  splendid  work. 

STUDIES  IN  ARTISTIC  PRINTING. 

By  C.  W.  Heakn.     Price,  $3.50. 

Embellished  with  six  fine  cabinet  and  promenade 
portrait  studies. 

PICTORIAL  EFFECT  IN  PHOTOGRAPHY. 

By  H.  P.  Eobinson.     For  the  Art  Photog- 
rapher.   Cloth,  $1.50.    Paper  cover,  $1.00. 

THE 
PHOTOGRAPHIC  COLORISTS'  GUIDE. 

By  John  L.  Gihon.     Cloth  bound,  $1.50. 

The  newest  and  best  work  on  painting  photographs. 

PHOTOGRAPHIC  MOSAICS,  1885. 

Cloth  bound,  $1.00 ;  paper  cover,  50  cents. 
Back  volumess.  same  price. 
Better  than  any  of  its  predecessors. 

COPIES  MAILED  POST-PAID  ON  RECEIPT  OF  PRICE. 

EDWARD  L.  WILSON, 

Photo.  Publisher.  1125  Chestnut  St.,  Phila. 


388  THE  PHILADELPHIA  PHOTOGKAPHEK. 


The  Following  is  of  Interest  to  Every  Photographer. 


THE  NEW  N.  P.  A. 


PENSE. 


We  desire  to  call  attention  to  our  NEW  PENSE  N.  P.  A.  Extra  Brilliant 
Dresden  Albumen  Paper. 

The  manufacturers  at  Rives  have  recently  many  marked  improvement  in  their 
celebrated  paper,  and  all  the  sheets  of  this  brand  are  manufactured  specially  for 
it,  and  are  readily  distinguished  from  all  other  papers  by  the  water-mark  N.  P.  A. 

It  is  doubly  albumenized  by  the  most  experienced  house  in  Germany,  with 
new  and  improved  formulas,  and  we  are  confident  that  on  trial  it  will  be  found 
superior  to  any  other  in  market. 

Its  excellence  has  induced  some  unscrupulous  persons  to  place  the 
STAMP  on  the  Paper  of  other  makers,  in  order  to  work  it  off,  trusting  that 
photographers  will  not  look  through  to  see  if  the  water-mark  is  there.  To 
prevent  this  we  have  registered  JS^'TMs  Trade  Mark^^a  in  Washington,  which  will 
subject  to  heavy  damages  all  ^^^-"^  ^Zd  those  who  stamp  this  brand 
on  paper  which  does  not  bear  ^  N.P.A.  ^  the  water-mark  N.  P.  A 
This  Paper  can  be  had  also  in        DRESDEN.        PINK,  PEARL  or  WHITE." 

FOR  SALE  BY  ALL  DEALERS  IN  PHOTO.  GOODS  IN  U.  S.  AND  CANADA. 


E.  &  H.  T.  ANTHONY  &  CO., 

591  Broadway,  NEW  YORK. 

N.  B. — When  any  paper  is  offered  to  you  at  a  low  price,  Measure  it. 

Also  note  whether  it  runs  Uniform,  for  some  albumenizers  mix  the  first  and 
second  qualities,  not  discarding  that  which  has  defects,  and  thus  get  their  paper 
cheaper. 


THE  PHILADELPHIA  PHOTOGEAPHBE. 


389 


SOOVILL'S 

NEGATIVE  WASHING  BOXES. 


GUARANTEED  NOT  TO  RUST. 

It  is  necessary  at  a  certain  stage  of  development  to  remove  from  photographic  nega- 
tives all  traces  of  Hyposulphite  of  Soda,  and  it  is  not  generally  convenient  to  place  them 
where  water  will  flow  over  their  surface  a  sufficient  length  of  time  to  accomplish  this  effec- 
tually, without  injury  to  the  sensitive  film.  To  watch  the  plate  is  to  waste  time.  The 
flow  over  it  should  be  with  gentle  force.  This  can  best  be  regulated,  and  a  thorough 
cleansing  from  Hyposulphite  of  Soda  of  every  portion  of  the  negative  be  assured,  by  the 
employment  of  one  of  the  Negative  Washing  Boxes  above  pictured.  Plates  are  simply 
slid  into  the  grooves,  a  guarantee  that  the  film  will  not  be  disturbed  or  marred ;  a  bit  of 
hose  is  slipped  over  a  tap,  and  then  at  the  other  end  over  the  spout  on  the  box.  If  need 
be,  another  section  of  rubber  tubing  is  used  to  carry  off  the  waste  water  to  an  outlet. 
After  this  simple  preparation  the  Washing  Box  is  in  readiness  for  service. 


No.  1,  for  3£  x   4J  Plates, 


PRICE  LIST 


2, 
3, 
4, 
5, 
6, 
7, 
8, 


4 

5 
5 
6J 
8 


5 

x    6J 
x    6£ 
x  7 
x    8 
x    8£ 
xlO 


ejv-? 

.    $1  20 

1  25 

1  30 

1  35 

1  40 

1  50 

1  75 

2  25 

LARGER  SIZES  MADE  TO  ORDER. 


Painted  Negative  Washing  Boxes,  40  cts.  additional  for  each  size. 

Oloth  Rubber  Hose  Supplied  for  the  above  Boxes  at  28  cts.  Per  Foot. 
SGOVILL  MANUFACTURING  CO. 


390  THE    PHILADELPHIA    PHOTOGRAPHER. 


The  Photo-Gravure  Company, 

OFFICE 

853  BROADWAY,   NEW  YORK. 

(The    '*  Domestic "    Building,  \ 
Broadway  and   14th  Street.   / 


PRESIDENT,  ERNEST  EDWARDS,  —  late  of  the  Heliotype  Printing 
Company,  of  Boston,  and  Inventor  of  the  Heliotype  Process. 

VICE-PRESIDENT  AND  TREASURER,  WALTER  B.  MOORE, 
—  Editor,  "  The  Public  Service  of  the  State  of  New  York." 

SECRETARY,  W.  I.  SCANDLIN,  —  late  Manager  New  York  Office, 
Heliotype  Printing  Co. 


THE  PHOTO  GRAVURE  COMPANY,  with  an  office 
fully  equipped  for  PHOTO-MECHANICAL  PRINTING 
AND  PUBLISHING,  are  now  producing  results  unsurpassed 
by  any,  Plain  and  in  Color.  Their  specialties  are  ART  and 
SCIENTIFIC  work  and  ART  CATALOGUES,  produced  by 
the  following  processes : 

PHOTO-GRAVURE,  —  The  process  of    Mr.    Ignatz 

Oesterreicher. 
GELATINE     PRINTING,  —  Heliotype,    Autoglyph, 

Indo-Tint. 
PHOTO-LITHOGRAPHY,  —  Osborne's  process. 
PHOTO-LITHOGRAPHY     IN     HALF      TONE, — 

Mr.    Edwards'    process,   Dased  on   Meisenbach's 

method. 

PHOTO-ENGRAVING,  —  Swelled   gelatine   process. 
PHOTO-ENGRAVING    IN     HALF    TONE,  —  Mei- 
senbach's process  as  worked  by  Mr.  Edwards. 


ESTIMATES  GIVEN  ON  APPLICATION, 


THE    PHILADELPHIA    PHOTOGRAPHER. 


391 


C3k   C^E53NTKTE3I^.T7, 

No.  54  East  Tenth  Street,  New  York. 


SOLE  IMPORTER  OP 


C.  BOHMKE  &  CO.'S  IMPROVED  APLANATS. 

TBE  BEST  LENSES  FOR  PORTRAIT,  RAPID  LANDSCAPES 
AND  GROUPS  YET  INTRODUCED. 


Mr.  Bohmke,  who  has  been  superintending  foreman  for  Voigtlander  &  Son  for  25 
years,  has  lately  brought  out  the  above  designated  instrument,  which  is  in  every 
respect  equal,  if  not  superior,  to  the  "Euryscope,"  combining  a  large  field,  perfect 
definition  and  brilliant  illumination  in  the  highest  possible  degree. 

3^ES  V.  MAGEE  &  0q 


MANUFACTURERS  OF  PURE 


Photographic  Chemicals, 

Jflo.  622  Pace  Street,  Philadelphia. 


The  Standard  Quality  and  Purity  of  our  Chemicals  make  them  the  most 
desirable  and  reliable  for  photographic  use. 


-fes+STOCKDEALERS   ONLY  SUPPLIED.+^#»- 


PPFTOPS  of  G0J.P  and  Sipvpp  WASJP- 

Waste  sent  through  Stockdealers  will  receive  prompt  attention. 


392  THE    PHILADELPHIA    PHOTOGKAPHEK. 


A    GREAT  SUCCESS! 

THE 

NEW  DRESDEN  ALBUMEN 


THREE  CROWN  PAPER 


^JadeMa^ 


#  ife  # 

DRESDEN  ALBUMEN  PAPER 


For  Sale  by  all  Photo.  Stockdealers. 
SCOVILL  MANUFACTURING  CO., 

NEW  YORK. 


THE    PHILADELPHIA    PHOTOGRAPHER. 


393 


On  and  after  March  1st,  I  will  make  the  following  Reduction: 


4  x5 

4X*5^ 
4tf  x6^ 

5  x7 


.       $    45 

5x8 

$1  25 

14x17 

65 

6^x8^       • 

1  65 

16  x  20 

75 

8      x  10 

2  40 

17x20 

90 

10  x  12 

3  80 

18x22 

1   10 

11   x  14 

5  00 

20x24        . 

#9  00 

12  50 

13  OO 
15  50 
18  50 


CRAMER'S  LIGHTNING  PLATES. 


to^ .^ 


-§>• ^& 


TO  MEET  THE  DEMAND  FOB 

An  Extremely  Rapid  Plate 

I  am  now  making  the  above  new  brand  (blue  label),  which  is  about  twice  as  rapid 
as  my  "  Extra  Rapid  "  and  nearly 

TWENTY  TIMES  MORE  RAPID  THAN  COLLODION. 


THIS  NEW  PLATE  COMBINES 

EXTREME  RAPIDITY, 

FINE  CHEMICAL  EFFECT, 

PERFECT  CLEARNESS, 

GOOD  INTENSITY, 

EASY  TO  DEVELOP, 

And    CANNOT    BE    EXCELLED. 


For  all  cases  where  Extraordinary  Rapidity  is  desirable  and  for  Large 
Work  these  "Lightning  Plates"  will,  upon  trial,  prove  their  superiority  over 
all  others. 

My  regular  brand,  the  "Extra  Rapid"  (yellow  label),  which  is  so  well 
known  and  sufficiently  sensitive  for  general  use,  will  be  kept  up  to  its  usual  high 
standard. 

BOTH  BRANDS  SAME  PRICE. 

WILL    BE    FOR    SALE    BY    ALL    DEALERS. 


DRY-PLATE  WORKS,  ST,  LOUIS,  MO. 

6 


394  THE    PHILADELPHIA    PHOTOGEAPHEE. 


GIHON'S 

CUT-OUTS 

An  Entirely  New  Variety  for 

Printing  Medallion  Pictures, 


Are  the  very  best  that  are  made,  and  are  now  without  a  rival  in  the  market.  They  are  clean 
cut,  most  desirable  shapes  and  sizes,  and  made  of  non-actinic  paper,  manufactured  specially  for  the 
purpose.  Each  package  contains  30  Cut-Outs,  or  Masks,  with  corresponding  Insides,  assorted  for 
five  differently  sized  ovals  and  one  arch-top. 

Price,  $1.00  per  Package.    Sent  by  mail  on  receipt  of  price. 

Parties  wishing  special  sizes,  or  large  lots  of  a  few  sizes,  may  have  them  cut  to  order  promptly, 
by  addressing  the  manufacturer.      No  lot  costing  less  than  $1.00  made  at  a  time. 
^g©*"No  printer  should  attempt  to  make  Medallion  Pictures  without  them. 

They  Have  no  Equal  for  Quality. 

Beware  of  spurious  imitations  made  of  common  paper,  full  of  holes,  badly  cut,  and  odd  shapes  and 
sizes.  Ask  your  Stock-dealer  for  GIHON'S  CUT-OUTS,  and  see  that  they  are  in  his  envelope,  with 
instruction  circular  included.  The  recent  packages  are  composed  of  an  entirely  new  variety  and  ot  a 
new  paper.     TRY  THEM. 

Promenade  Size  now  Ready,        Sold  Separately  at  50  cents  per  Dozen, 


GIHON'S  OPAQUE 

Is  designed  for  Completely  obscuring  the  Imperfect  Backgrounds  of  Copies,  Retouching  Nega- 
tives, Faulty  Skies  in  Landscapes,  Coating  the  Inside  of  Lenses  or  Camera  Boxes, 
Backing  Solar  Negatives,  Covering  Vignetting  Boards, 
And  for  Answering  all  the  Requirements  of  the  Intelligent  Photographer  in  the  Production 

of  Artistic  Results  in  Printing. 

Wherever  you  want  to  keep  out  Light,  use  Opaque. 

IT  IS  APPLIED  WITH  A  BRUSH,  DRIES  QUICKLY  AND  STICKS. 


CUT-OUTS  (thirty),  $1.00.         OPAQUE,  SO  Cents. 

FOR  SALE  BY  ALL  DEALERS. 


Address  all  orders  to 

SCOVILL  MANUFACTUKING  CO.,  New  York. 


THE    PHILADELPHIA    PHOTOGKAPHER  395 

BEST 


DRES 


m* 


BRILLIANT 


4/-SaMEN  PA?^ 


Ever  Offered  to  Photographers. 

WHITE,  PINK,  PENSE. 


FREE  FROM  BLISTERS  AND  IMPERFECTIONS. 


A  NEW  PAPER.    NOW  READY. 

EAGLE  SATIN  FINISH, 

IN  PENSE  AND  PEARL. 

Although  my  importations  of  paper  have  had  a  most  satisfactory  sale,  and  the  old  favorite 
brands  will  be  continued  in  the  market  of  the  same  quality,  I  have  a  New  Brand  which  I  offer 
for  public  favor  which  I  believe  to  be  SOMETHING-  SUPERIOR. 

®sr$36.00  A  REAM.^       ®§^A  REAM  $36.00.  "®* 

FOR  SALE  BY  ALL  DEALERS. 

IMPORTED  BY 

G.  GENNERT, 

54  B.  TENTH  ST.,  NEW  TOBK 

FOR   SALE    BY    ALL   DEALERS. 


3d6  THE    PHILADELPHIA    PHOTOGEAPHER. 

A.  M.  Collins,  Son  &  Co. 

MANUFACTURE  ALL    KINDS   OF 

CARDS  AND   CARDBOARDS 

FOR 

hotographerR 


AND 


MATS.  MOUNTS.  AND  ENVELOPES 


'J 

FOR 


FERROTYPES. 


OFFICE  AND  WAREHOUSE, 

No.  527  ARCH  STREET, 

PHILADELPHIA. 


Price  Lists  may  be  had  by  intending  purchasers  on  application 

to  us,  or  to  all  Photographic  Merchants,  through  whom 

your  favors  are  respectfully  solicited. 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


397 


T 


THEM! 


WAYMOUTH'S  VIGNETTE  PAPERS. 


No.  15 


THE 


Orisly  Pattern, 

PEAR  SHAPE 

Now  Ready, 

$1.00  PER  DOZ. 


They  are  not  clumsy  ;  do  not 
break;  are  always  ready ;  cost 
but  little,  and  are  easy  of  ampli- 
cation to  any  negative.  They 
need  but  one  adjustment  to  print 
any  quantity.  They  entirely 
do  away  with  all  the  old  and 
troublesome  methods,  either 
wood,  metal,  or  cotton. 


n 

WrH 

%|lsj» 

l^^k 

««f8t- 

41Ba 

ERR 

3|ffl 

Hjfk 

?^^^w 

;MMm 

■:',$2& 

19  Sizes 


ARE 


Now  Made 

PEAR  SHAPE. 

Prices  Below. 


They  are  printed  in  black 
for  ordinary  negatives,  yellow 
bronze  for  thin  negatives,  and 
red  bronze  for  still  weaker  ones. 
Directions  for  use  accompany 
each  parcel. 


SEE  WHAT  THOSE  WHO  USE  THEM  SAY. 

The  Vignette  Papers  are  just  the  thing.  They  are  a  great  improvement,  and  will  print 
in  little  more  than  half  the  time  required  for  others.  The  results  are  everything  that  can 
be  desired,  as  you  can  see  by  samples  inclosed.  E.  D.  OEMSBY,  San  Francisco. 

FROM  PROFESSIONAL  AND  AMATEUR  PHOTOGRAPHERS. 

"  First-class." — "  The  sample  sent  answers  perfectly." — "  I  consider  them  first-rate  articles." — "  They  answer  the 
purpose  admirably." — "  They  are  the  best  vignettes  I  have  ever  had,  and  as  you  can  print  in  full  sunlight,  they  are  a 
great  saving  of  time." — "  They  could  not  be  better,  oblige  me  with  another  packet." — "  I  find  them  excellent,  giving 
much  softer  pictures  than  the  old  way." — "  I  have  tried  one  of  the  Vignette  Papers,  and  like  it  much ;  send  me 
packets  two  and  three." — "I  am  much  pleased  with  them,  and  shall  thank  you  to  send  me  anotner  packet." — "I  did 
not  need  any  copies  of  testimonials,  having  well  known  by  experience  that  your  Vignette  Papers  were  superior  to 
anything  I  have  ever  used." — "  I  found  those  you  sent  before  excellent." — "  Vignetting  Papers  received  and  tested  ; 
can't  be  beat.  I  use  by  cutting  an  opening  in  a  piece  of  card-board  and  tacking  to  the  printing-frame,  when  I  am  ready 
for  printing  vignettes  in  the  very  best  manner." — "  Waymouth  Vignette  Papers  I  have  tried,  and  they  are  just  what  I 
have  been  wanting  for  years." 


THOSE  WHO  SELL  THEM! 


ALL  STOCK-DEALERS 


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Better  than  any  patent  machine— trouble,  and  sell  better  every  month. 

PRICES: 

In  parcels  containing  one  dozen,  assorted,  from  Nos.  1  to  5 #0  50 

In  parcels  containing  one  of  each  size,  Nos.  1  to  15,  assorted  colors 1  00 

Assorted  sizes  and  colors,  by  number,  per  package  of  15 1  00 

Nos.  1,  2,  3,  4,  and  5,  assorted  sizes  and  colors,  for  Cartes,  by  number,  per  doz 50 

»     6,  7,  11,  12,  and  13,     »          »                  »       Large  Cartes  and  Victorias  by  number,  per  doz 75 

»     8,  9,  10,  14,  15,  and  15%,  assorted  sizes  and  colors,  Cabinets  and  Whole-size,  by  number,  per  doz 1  00 

»     16,17,18,                                »                 „             »     'Half           »               »                    »               »       125 

When  ordering,  state  the  number  and  color  you  want. 

EDWARD  L.  WILSON,  Manufacturer,  1125  Chestnut  St.,  Philad'a. 

FOR  SALE  BY  ALL  DEALERS. 

No.  18,  PEAR  SHAPE,  LAST  INTRODUCED,  $1.25. 


398 


THE    PHILADELPHIA    PHOTOGEAPHEE 


JOHN   G.  HOOD. 


ESTABLISHED    1865. 


WM.  D.  H.  WILSON. 


s0N,   HOOD   & 

S^J  \  **  825  Arch  Street,  C>  Q 

PHILADELPHIA, 

SOLE  AGENTS  IN  THE  UNITED  STATES  FOR  THE 


Centennial,  1876 


Centennial,  1876. 


Ross'  Portrait  and  View  Lenses. 


TT7"!?    TT  A  "XTTF    f  Portrait  Lenses,  from  1— 1  to  8  x  10.        I  Instantaneous  Doublets,  all  sizes. 
VVilj    ttJA-VHi         Cabinet  Lenses,  Nos.  3  and  3.  Medium  Angle  Doublets,  all  sixes. 

]STO"W  )    Card  Lenses,  Nos.  1,  3,  and  3.  Large  Angle  Doublets,  all  sizes. 

I    Triplets,  Nos.  1,  3,  3,  4,  5,  6,  and  7.  Stereograpnic  Lenses,  all  sizes. 

IN  STOCK      [  Symmetrical.    Rapid  Symmetricals.  |   New  Universal  Lens. 

Numerous  testimonials  pronounce  them  to  be  the  best  as  well  as  the  cheapest  Foreign  Lenses  ever 
offered  to  the  American  Photographer.   We  will  mail  price  list  oh  application,  and  promptly  fill  all  orders. 


Steinheil's  Sons' 


APLANATIO 


Lenses. 


We  now  have  a  full  stoele  of  these  Celebrated  Lenses,  at  the  folio  wing  prices  : 

No.  1—  1-4  size, 3%  inch  focus, $35  00    I   No.  4—  SxlO  size,...  10^  inch  focus,. ..$60  00 

»    3—1-3      »       5V       »  »        30  00  »    5—10x13      »      ...13J§       »  »     TO  OO 

»    3—4-4      »       7  »  »        45  00    [        »    6—13x16      »      ...16^       »  »     ....110  00 

Nos.  1  and  3  are  in  matched  pairs  for  stereoscopic  work. 

We  feel  sure  that  at  least  one  of  these  lenses  is  needful  for  the  successful  prosecution  of  your  busi- 
ness, and  so  solicit  your  orders.  Always  in  stock,  to  suit  above  Lenses,  CAMERA  BOXES  made  by 
AMERICAN  OPTICAL  CO.,  SEMMENDINGER,  ANTHONY,  BLAIR,  etc. 

WE  KEEP  IN  STOCK  FULL  ASSORTMENT  OP 

AMATEUR  PHOTO.  OUTFITS 

DRY   PLATES   OF   ALL   MAKES. 

N.  P.  A.  EAGLE  and  S.  &  M.  PAPER,  PEE  REAM,  $32.00. 

Any  article  needed  we  can  supply,  as 
"WE  MANUFACTURE,  IMPORT,  AND  DEAL  IN  ALL  KINDS  OP 

Photo.  Goods,  Frames,  Stereoscopes  and  Views, 

At  prices  as  low  as  are  consistent  with  the  quality  of  goods  furnished.  We  are  indebted  to  our 
customers  for  the  patronage  during  the  past  Nineteen  Years,  and  our  efforts  shall  be  to  merit  a  con- 
tinuance of  it. 

Illustrated  Price  Lists  supplied  free.    Correspondence  solicited. 


THE   PHILADELPHIA    PHOTOGEAPHER. 


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Mr.  Edward  L.  Wilson.  New  York,  August  8,  1885. 

Please  send  us  25  copies  of  Wilson's  Photoqraphics. — Scovill  Mfg.  Co.,  W.  I.  Adams,  Agent. 

Mr.  Edward  L.  Wilson.  New  York,  August  9,  1885. 

Please  send  us  same  number  as  last  lot. — E.  &  H.  T.  Anthony  &  Co 

A  PARTIAL  PHOTOGRAPHIC  ENGTGLOPEDIA. 

By  Edward  L.  Wilson,  Editor  "  Phila.  Photographer,"  "  Photo.  Mosaics,"  etc. 

A  STANDARD  BOOK  FOR  ALL  WORKERS  IN  PHOTOGRAPHY. 


CONTENTS. 

Lesson  A.  Treatment  of  the  Subject — B.  The  Needful  Apparatus — C.  The  Objective  or  Lens — D.  The 
D ark-Room — E.  Preparation  of  the  Glass — F.  Chemicals  and  Solutions — G.  The  Manipulations — H.  Manipu- 
latory Miseries — I.  Retouching  the  Negative — J.  The  Glass  Studio — K.  Accessories  and  Light — L.  Manag- 
ing the  Model — M.  Printing  on  Albumen  Paper — N.  Printing  on  Plain  Paper — 0.  General  Remarks  on 
Printing — P.  Printing  on  Various  Surfaces — Q.  Printing  Perplexities — R.  Art  in  Printing — S.  Mounting 
and  Finishing — T.  Photography  Outside — U.  Bromo-Gelatine  Emulsion  Work — V.  Vogel's  Collodion  Emul- 
sion— W.  Enlargements  and  Lantern  Slides — X.  Phototypes,  Platinotypes,  and  Collodion  Transfers — Y. 
Wastes  and  Their  Worth — Z.   Metrical  Measuring — &.  Concluding  Confab — Index  (Six  Pages.) 

It  is  believed  that  this  is  the  most  valuable  work  ever  offered  to  the  working  photographer  Its  sale 
was  never  equaled.  It  contains  352  pages ;  7  x  8f  inch  cover,  and  is  1J  inches  thick.  More  than  100 
illustrations.     It  gives  full  details  of  all  practical 

PROCESSES,  OLD  AND  NEW,  PUBLIC  AND  SECRET. 

Among  the  latter  are  the  "Phototype,"  sometimes  called  the  "  Artotype  "  process,  with  examples; 
many  of  the  "  Lightning  "  processes ;  the  "  Platinotype  "  process ;  the  "  Collodion  Transfer  "  or  "  Mega- 
type  "  process,  and  many  others. 

58  pages  are  devoted  to  Posing  and  Lighting  ;  37  pages  give  instructions  in  Emulsion  "  Dry  "  Work  ; 
29  pages  show  how  to  Build  and  Use  Skylights  ;  108  pages  furnish  instructions  for  Manipulating  Nega- 
tives ;  37  pages  are  applied  to  Printing  Formula  and  Dodges ;  175  pages  gives  Notes  from  Authors  all 
over  the  world.     It  is  printed  on  fine  white  paper,  made  especially  for  it,  and  sold  at  the  low  price  of 

$4.00  POST-PAID  $4.00. 

For  the  beginner,  for  the  amateur,  for  the  photographic  worker,  it  is  believed  to  be  most  complete.  No 
live  photographer  should  fail  to  get  it  soon,  before  his  neighbor  is  ahead.     For  sale  by  all  dealers,    (over.) 


PARTIAL  INDEX. 


This  is  added  in  order  to  give  the  buyer  a  good  idea  of  what  he  may  get  for  his  money.  It  will  be  seen, 
also,  that  Photographies  is  not  a  book  for  a  single  reading  only,  but  a  thorough  encyclopedia  of  practical  pho- 
tographic information  that  will  serve  for  all  time.  There  is  scarcely  a  thing  you  are  likely  to  want  in  your 
practice  that  you  may  not  find  in  its  pages.  There  is  only  room  here  for  a  partial  index.  The  whole  covers 
six  pages  of  Photographies. 


Accessories  and  Light. 
Acidifying  the  Prints. 
Aerial  Perspective. 
Albumen  for  Phototypes,   Fil- 
tering the. 

Loss  of,  from  the  Paper. 

Paper,  Defects  and  Dryness  of 

Substratum  for  Glass. 
Alkaline  Sulphides,  Test  for. 
Alum,  Treatment  of  the  Prints 

with. 
Angle  of  View  possible  with  a 

Lens. 
Angular  Composition, 
Aniline  Blue  for  Pure  AVhites 

in  Prints. 
Apparatus,  Dry-Plate  for  Land- 
scapes. 
Arrangement  of  Drapery,  Raph- 
ael's. 
Art  among  Photographers. 

and  Art  Rules. 

Principles  applied  to  Photog. 
Artificial  Light  for  Solar  Print- 
"Artotypes."  [ing. 

Atmospheric  Effect. 
Backgrounds. 

Frames  for. 

How  to  Make  and  Paint. 
Bath,  Boiling  down  the, 

Decolorizing  the  Printing. 

Fusing  the. 

Rectifying  the. 

Removing  Albumen  from  the. 

Testing  the  Strength  of  the. 

The  Fixing. 

The  Nitrate. 

Troubles. 
Black  and  White  Negatives. 
Blistering  of  Prints. 
Blueness  of  the  Film. 
Bold  Prints  from  Flat  Negatives. 
Breadth  of  Effect. 
Brilliancy  in  a  Photograph. 
Bromo-Gelatin  Emulsion  Work. 

Alkaline  Developer  for. 

Calculations,  Table  for. 

Carbutt's  Cruet  for. 

Chemicals  for. 

Development  of. 

Drying  the  Plates. 

Exposure  of. 

Fogging  of. 

Frilling  of. 

Intensifying. 

Printing. 

Rapidity  of. 

Reducing. 

Retouching  and  Varnishing. 

Spreading  the  Gelatin. 

Strengthening. 

Washing. 
Burnishing  the  Prints. 
Camera,  Care  of  the. 

How  to  tell  a  good. 


Contrasts,  Violent. 
Correctness  and  Comparison. 
Curtains  for  the  Studio. 
Dark-Room,  The. 
Dark-Tent,  The. 
Defective  Toning  of  Prints. 
Defects  and  Dryness  of  Alba- 
men  Paper. 
Dense  Negatives,  Printing. 
Developer,  The  Iron. 

The  Iron  and  Ammonia. 
Development,  The. 

Best  Rule  for  the. 
Diaphragm. 

Use  of  the.  [Printing. 

"  Doctoring "     Negatives     for 
Drapery,    Raphael's    arrange- 
ment of. 

for 


Drying-Box 
Plates. 

Cupboard 
Plates. 

Cupboard 


for 


for 


Phototype 

Emulsion 
[Plates. 
Phototype 


Card-Board,  Cockling  of  the. 

Cheapness. 

Chemicals  and  Solutions,  The. 

Chemistry  of  Out-Door  Formulae. 

Chiaro-Oscuro,  or  Light  and  Shade. 

Chloride  of  Gold,  Saving. 

of  Silver,  into  a  Metallic  State. 
Clouds  and  Sky,  The. 

in  Out- Door  Views. 

Printing  in. 
Collodion  Bromized. 

Changes. 

Double  Iodized. 

for  Hot  Weather. 

for  Interiors. 

Intense. 

Out-Door,  Water  In. 

Troubles. 
Collodion  Transfers. 

Coloring. 

Gelatin  Paper  for. 

Iodizers  for. 

Printing. 
Collodionizing  the  Plate. 
Color,  Good,  Printing  for  Negatives. 
Cornposition,  Angular. 

Circular. 

Pyramidal. 
Concluding  Confab. 
Contraction     and     Expansion    of 
Paper. 


Oven  for  Phototype  Plates. 
Room,  The. 
the  Paper, 
the  Prints. 

Vogel's  Collodion  Emulsion. 
Education  of  Photographers. 
Effect,  Breadth  of. 
Effects,  BrilHant. 

of  Light. 
Encaustic  Paste  for  Prints. 
Enlargements  and  Lantern  Slides. 
Enlarging   Carte-de-Visite    Nega 

tives. 
Exposure  for  Phototype  Plates, 
for  Platinotypes. 
of  Bromo-Gelatin  Plates. 
Shortening. 
Time  of. 
Eye,  Education  of  the. 

of  the  Sitter. 
Faces,  The  Study  of. 
Fading  of  Prints. 
Ferrous-Oxalate  Developer,  The. 
Field  Work. 
Figures  in. 
Foreground  Study  in. 
Film,  Blueness  of  the. 

Weakness  of  the. 
Filtering  Albumen  for  Phototypes. 

Gelatin  for  Phototypes. 
Finishing  and  Mounting. 
Fixing. 

Flat  Negatives,  Printing. 
Flatness  and  Want  of  Contrast. 
Fogging. 

Formation  of  Network  on  the  Film. 
Fumes,  Poisonous. 
Fuming  the  Paper. 
Fusing  the  Bath. 
Glace  Prints. 
Glass,  Preparation  of  the. 
Studio,  The. 


Vol.  23.         188  6.         Vol.  23. 


•  ALTHOUGH  there  are  lower-priced  magazines, 

ALTHOUGH  there  are  magazines  issued  more  frequently, 

ALTHOUGH  there  are  magazines  more  thoroughly  de- 
voted to  the  interests  of  the  dealers, 

ALTHOUGH  there  are  younger  magazines, 

ALTHOUGH  some  magazines  watch  less  diligently  the 
interests  of  the  craft, 

YET 
THE  PHILADELPHIA  PHOTOGRAPHER 

CONTINUES  TO  GROW,  AND  THERE  IS  NONE  LIKE  IT. 

The  interest  which  is  taken  in  it  and  the  enthusiasm  with  which  it  is  supported  is 
wondrous. 

THE    REASON? 

Because  its  editor  puts  his  heart  in  his  work,  gives  it  his  personal  hand  and  head 
work  and  makes  it  the  best. 

Witness  the  report  of  the  Buffalo  Convention,  which  everybody  agrees,  so  far  as  we 
have  heard,  "was  the  very  best  report  published." 

No  matter  how  many  other  magazines  you  take,  the  Philadelphia  Photographer 
is  different  from  all  the  rest,  and 

YOU    WANT    IT, 

If  you  want  to  keep  up  in  your  art. 

SAMPLE  COPIES  FREE. 


A  GRAND  PROGRAMME  FOR  1886. 


figp*  1885  &  1886  NOW  for  $6.50.     $5.00  a  year;  $2. 50  for  six  months; 
50  cts.  a  copy.    See  Book  Bargain  Advertisement. 

It  has  been  our  custom  for  many  years,  to  give  old  subscribers  a  premium  for  new  subscriptions 
sent  in  addition  to  iheir  own.  "We  continue  this  plan  by  offering  one  dollar's  worth  of  our 
publications  for  each  such  additional  subscriber  for  a  year.  Please  do  all  you  can  to  increase  our 
usefulness  in  behalf  of  the  glorious  art  of  photography.     It  is  to  yoitr  interest  to  do  so. 

We  have  some  useful  schemes  and  novelties  under  way,  which  will  be  presented  from  time  to  time. 

Contributions  from  both  Actives  and  Amateurs  are  invited.  Proceedings  of  Societies  are  very 
useful  and  should  be  sent  promptly. 

EDWARD  L.  WILSON,  Editor,  Publisher,  and  Proprietor,  1125  Chestnut  St.,  Phila. 


NOTICE   TO    SUBSCRIBERS. 


In  remitting  by  mail,  a  post-office  or-1  ADVERTISING  sheets  are  bound 
der,  or  draft,  payable  to  the  order  ot  with  each  number  of  the  Magazine. 
Edward  L.  Wilson,  is  preferable  to  |  Advertisements  are  inserted  at  the  fol 
bank-notes.  Postage  stamps  of  the 
denomination   of   two  and  five   cents 


each  will  be  taken.      Clearly  give  your 
Post-Office,  County,  and  State. 

Foreign  subscriptions  must  be  ac- 
companied by  the  postage  in  addi- 
tion. 


lowing  rates : 

One  Six  One 

Month.  Months.  Year. 

One  Page #20.00  $110.00  $200.00 

Half    "    12.00  66.00  120.00 

Quarter  Page...     7.00  38.50  70.00 

Eighth      "    ...     4.00  22.00  40.00 
Cards,    6  lines 

orless 2.00  11.00  20.00 


The  attention  of  advertisers,  and 
those  having  galleries,  etc.,  for  sale, 
is  called  to  our  Specialties  pages. 
Terms,  $2  for  six  lines,  and  25  cents  foi 
each  additional  line,  seven  words  to  a 
line,  always  in  advance.  Duplicate 
insertions,  50  cents  less,  each. 

We  have  added  an  Exchange  Colum  n 
to  our  Magazine,  wherein  photogra- 
phers having  articles  for  exchange  can 
insert  advertisements  at  the  low  price 
of  15  cents  per  line,  or  fraction  of  a 
line,  of  seven  words  to  a  line. 

Operators  desiring  situations  no 
charge. 


BLAIR'S 

REVERSIBLE-BACK  CAMERAS. 


(IMPROVED.) 


Our  recent  improvement  in  this  popular  Camera  still  keeps  it  ahead  of  all  com- 
petitors as  a  Light- Weight  Camera. 

Fitted  with  Feather- Weight  Holders,  unless  otherwise  specified.     Ask  for  the 
latest  style  with  metal  guides  and  track. 


PRICE    LIST. 


CAMEKA  PKOPEK. 
Size  of  Plate.  Single  Swing.  Double  Swing. 

Ay2  x  5>y2 $28.00 $30.00 

5x7      3100  33.00 

ey  x  syz 35.00 37.00 

8  x  10   40.00  43.00 


EXTENSION. 

Size  of  Plate.  *.. 

5x8      $800 

8  x  10  1000 

10  x  12  1300 

11  x  14  15  00 


We  are  constantly  adding  new  and  useful  goods  to  our  already  large  list,  which 
will  be  illustrated  on  this  page  from  time  to  time. 

Send  for  catalogues  and  circulars. 


THE  BLAIR  TOMOGRAPH  AND  DRY-PLATE  CO., 

No.  471  Tremont  Street, 

BOSTON,  MASS. 
WAREROOMS,  NEW  YORK  AND  CINCINNATI,  OHIO. 


* 


22d  YEAE.         IDIBCOESIUEIOIEIFt,   1885. 


Number  264. 


50  Cents. 


THE 


PHILADELPHIA 


turtfljjrapfor. 


AN  ILLUSTRATED  MONTHLY  JOURNAL, 


DEVOTED  TO  PHOTOGRAPHY. 


EDITED  BY  EDWARD  L.  WILSON. 


PHILADELPHIA:.  EDWARD  L.  WILSON 

PUBLISHER  ™iD   PROPRIETOR, 

No.  1 1 25  Chestnut  Street. 

SUBSCRIPTIONS  RECEIVED  BY  ALL^NEWSB  . 
Five  Dollars  per  Annum,  in  Ac 


Entered  at  the  Post-Office  at  Philadelphia  as  second-class  matter. 


WILSON'S  PHOTOGRAPHICS,  Fourth  Thousand>$4.00.  \s^ikN^ 


SUMMARY    OP    CONTENTS. 


Adieu  Twenty-two, 377 

Photographic  Mosaics,  1886, 377 

About  Instantaneous  Pictures.     By  Prof.  H. 

W.  Vogel, 378 

Shall  We  Use  Quick  or  Slow  Plates  for  Land- 
scape Work?     By  Dr.  S.  C.  Passavant,  379 
Tear-drops  on  Gelatine  Negatives.     By  James 

IngliSj^ 380 

Colonel  Baratti's  Shutter, .    , 381 

Observations    on    Silver    Printing.     By  F.  M. 

Spencer, 381 

No  Blisters  in  Mine.     By  II.  McNeill,  .     .     .  383 

Mr.  Ives  to  the  Public, 384 

Pertaining  to  the  P.  A.  of  A., 385 

The    Bichromate    Disease.     By    Dr.   John   H. 
Janeway,  U.  S.  A., 386 


How  the  New  York  World  Expatiates  on  Pho- 
tography.    By  An  Amateur, 388 

Pyrogallic  Acid  and  Oxalate  of  Iron.     By  M. 

Rossignol 389 

Studio  Studies, 391 

Colored  Media  for  the  Photographic  Dark  Room. 
By  William  H.  Pickering,     .....  392 

German  Correspondence, 394 

Those  "Thumb  "Marks.    By  Thomas  Pray,  Jr.  395 
A  Convenient  Arrangement.     By  F.  B.  Zay,  .  397 
Exhibition  of  the  Society  of  Amateur  Photog- 
raphers.    By  Charlotte  Adams,      .     .     .  397 

Society  Gossip 400 

Our  Picture, 405 

Editor's  Table 406 


Embellishment. — Second  German  Gennert  Prize  Photos.,  from  Buffalo  Convention.     By  Frederick  Muller. 


ADVERTISEMENTS. 


ALLEN  BROTHERS.     The  Suter  Lens. 
ANTHONY  &  CO.,  E.  &  H.  T.     The  New  N.  P.  A. 

Pense"  Extra  Brilliant  Dresden  Albumen  Paper. 
BIGELOW'S  ARTISTIC  PHOTOGRAPHY. 
CARBUTT,  J.     Gelatine  Dry  Plates  and  Improved 

Dry  Plate  Lantern. 
COLLINS,  SON  &  CO.,  A.  M.     Photograph  Cards. 
COOPER,  CHAS.  &  CO.     Union  Negative  Cotton. 
CRAMER,  G.      Lightning  Plates. 
DEALERS'  DIRECTORY. 
DOUGLASS,  THOMPSON  &  CO.     Supplies  for  the 

Art-Science  of  Photography. 
EASTMAN  DRY-PLATE  AND  FILM  CO. 
ENTREKIN.     Patent  Eureka  Burnisher.     Duplex 

Rotary  Burnisher.     Duplicating  Print-Cutter. 
FRENCH  &  CO.,  BENJ.     Voigtlander  &  Son  and 

Darlot  Lenses.     The  Wonderful  Euryscope. 
GENNERT,  G.     Albumen  Paper.     C.  Bohmke  & 

Co.'s  Improved  Aplanats. 
HANCE'S  SPECIALTIES. 
HODGE  &  HUSTON.     The  Solar  Printers. 
HYATT,  H.  A.     New  Brand  of  Dry  Plates. 
INGLIS,  JAMES.     "Insoluble"  Dry  Plates. 
KEEVIL'S   PATENT    NEWTONIAN    DUPLEX 

LANTERN. 


MA  GEE  &  CO.,  J  AS.  F.    Photographic  Chemicals. 

MOORE,  ALBERT.     Solar  Enlarger. 

MOSAICS,  1S85. 

OPTICAL  LANTERNS  AND  SLIDES. 

PASSAVANT'S  DRY  PLATES. 

PHOTOGRAPHIC  COLORISTS'  GUIDE. 

PHOTOGRAPHIC  PROGRESS  SINCE  1878. 

PHOTOGRAPHIC  PUBLICATIONS. 

PHOTOGRAPHISCHE  MITTHEILUNGEN. 

PICTORIAL  EFFECT  IN  PHOTOGRAPHY. 

ROBINSON'S  NEW  MODEL  PHOTO.  TRIMMER. 

SCOFIELD'S  UNIQUE  CAMERA. 

SCOVILL  MANUFACTURING  CO.  New  Dres- 
den Albumen  Three  Crown  Paper.  Negative 
Washing  Boxes.     Gihon's  Cut-Outs. 

THE  BLAIR  TOUROGRAPH  AND  DRY  PLATE 
CO. 

THE  HELIOTYPE  PRINTING  CO. 

WAYMOUTH'S  VIGNETTE  PAPERS. 

WILSON,  HOOD  &  CO.  Ross  and  Steinheil 
Lenses,  Photo.  Frames,  Goods,  Stereoscopes, 
and  Views. 

WILSON'S  PHOTOGRAPHICS. 

WILSON'S  LANTERN  JOURNEYS. 

WILSON'S  VIEWS  OF  THE  ORIENT. 


119  South  Fourth  St. 
PHILADELPHIA, 

Branch  Office, 
6OB  Seventh  Street, 

WASHINGTON,  D.  G. 


mM 


H.  HOWSOJf, 

Engineer  and  Solicitor  of -Patents. 

C.  HOWSON, 

Attorney  at  Law,  and  Counsel  in 
1  Patent  Cases. 


THE    PHILADELPHIA   PHOTOGRAPHER. 


361 


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jsos'Bqjouj  raoog  9qi 


ENTREKIN'S  PATENT  EUREKA  BURNISHER, 


The  above  cut  represents  our  25  inch  Eureka. 


The  unprecedented  popularity  of  this 
Burnisher  is  wonderful.  Over  seventeen 
thousand  (17,000)  sold  in  less  than  five 
years.  Agencies  in  London,  Berlin,  and 
Vienna,  and  sold  by  all  stockdealers  in  the 
United  States.  The  machines  are  built  in 
first-class  style,  and  warranted  to  do  the 
work  claimed. 

Full  directions  accompany  each  machine, 


PRICES: 


6  inch  Roll, $15  00 

10  "  25  00 

14  "  35  00 


20  inch  Roll, $60  00 

25  "  70  00 


BNTREKIN'S 


Duplex  Rotary  Burnisher. 


PATENTED  JUNE  1,  1875. 


PRICES: 


10  inch, $15  00 

15      " 25  00 

20      "      .         .        .        •        •        •        .  35  00 

25      "      .        .        .        .        .        .        .  45  00 


ENTREKIN'S  DUPLICATING  PRINT  CUTTER. 


Cabinet  and  Stereo.  Sizes,  $25.00  Small  Panel  Size,  $35.00. 

Size  6^  x  8^,  $40. OO. 

MANUFACTURED  AND  FOR  SALE  BY 


W.  G.  ENTREKIN,  4384  Main  St.,  Manayunk,  Pailada.,  Pa. 


THE    PHILADELPHIA    PHOTOGEAPHEK.  363 

ENTREKIN'S 

IMPROVED 

DUPLEX  ROTARY  BURNISHER. 

PATENTED. 


10  in.,  $25.00.     15  in.,  $35.00.     20  in.,  $45.00.    25  in.,  $60.00. 

This  Machine  is  an  improvement  on  our  old  Duplex  Rotary 
Burnisher,  invented  by  us  in  1874. 

It  is  so  constructed  that  by  changing  the  Large  Gear  or  Cog-wheel,  from  the  stud  to  the  end 
of  the  draw-file  or  upper  roll,  you  reverse  and  change  the  speed  of  the  lower  or  polishing  roll, 
thus  getting  the  same  result  as  in  the  old  Duplex  Rotary ;  but  to  secure  the  best  polishing  surface, 
use  the  machine  with  the  large  cog-wheel  on  the  Stud,  by  so  doing  you  secure  three  times  the 
polishing  surface.  All  the  machines  will  be  sent  out  with  gearing  so  arranged  as  to  give  this 
result.  It  is  optional  with  the  Photographer  how  he  may  use  the  machine.  The  Fire-Pan  is 
so  arranged  that  it  is  impossible  for  it  to  come  in  contact  with  the  surface  of  the  polished  roll,  and 
it  can  be  turned  away  to  cleanse  the  roll. 

EVERY  MACHINE  WARRANTED  PERFECT. 


FOR  SALE  BY 


W.  G.  ENTREKIN,  Inventor  and  Sole  Manufacturer, 

4384  Main  St.,  Manayunk,  Philadelphia,  Pa. 
AND  BY  ALL  PHOTOGRAPHIC  STOOKDEALERS. 


364     THE  PHILADELPHIA  PHOTOGBAPHEE. 


Eastman  Dry  Plate  and  Film  Co. 


MANUFACTURERS  OP 


Eastman  s  Dry  Plates, 

Eastman  s  Negative  Paper, 

Eastmans  Bromide  Paper  for  Contact  Printing 
and  Enlargements, 

The  Eastman- Walker  Roll- Holder. 


We  have  been  awarded  the  Highest  Medals  of  the  International 
Inventions  Exhibition,  Royal  Cronwall  Polytechnic  Society,  Photo- 
graphic Society  of  Great  Britain. 


THE  ONLY  COMPLETE  SYSTEM  OF  FILM  PHOTOGRAPHY. 

Send  for  circulars. 

THE  EASTMAN  DRY  PLATE  AND  FILM  CO. 

ROCHESTER,  N.  Y. 


THE    PHILADELPHIA    PHOTOGRAPHER. 


365 


WILSON'S  LANTERN  JOURNEYS 

These  descriptions  should  be  in  the  hands  of  every  Lantern  Exhibitor  and  Lecturer.  They 
help  you  choose  slides.  They  tell  you  what  facts  and  figures  the  public  want  to  know  about  the 
places  and  things  you  exhibit.  The  contents  are  divided  into  JOURNEYS  or  selections  as  per 
list  below : 


DESCRIBES 

SLIDES 

ALL  OVER 

THE  WORLD. 


3  VOLUMES. 


VOLUME  I.  306  PAGES, 

Contains  NINE  Journeys: 

A — France  and  Switzerland. 

B — Belgium,      Germany,     Austria, 

Saxony,  and  Bavaria. 
O — Italy — Lakes,    Cities,    and    the 

Italian  Art  Galleries. 
D — Holland,      Denmark,     Norway, 

Sweden,  Russia,  and  Spain. 
E — Egypt,  Palestine,  Syria,  Turkey, 

Greece,  and  India. 
P — England,  Scotland,  and  United 

States  of  America. 
G— Centennial  Exhibition,  Philada. 
H — Centennial  Exhibition,  Philada. 
I — The  Paris  Exposition,  1878. 

IN  ALL,  Or  JEM  900  SUBJECTS. 

PRICE  $2,  POST-PAID. 


DESCRIBES 

SLIDES 

ALL  OVER 

THE  WORLD 


3  VOLUMES. 


VOLUME  H.  331  PAGES, 

Contains  TWELVE  Journeys: 

J — Germany  and  Russia. 

K — Belgium  and  Austria. 

L — France — Cities  and  Provinces. 

M— Spain  and  Portugal. 

N — Switzerland— The   Four  Alpine 

Routes. 
O — Italy,  Ischia,  and  Sicily. 
P— Turkey,  Greece,  and  Egypt. 
Q— Palestine  and  India. 
R — Scotland — Cities  and  Ruins. 
S — Ireland. 
T — England — Cities,  Museums,  and 

Ruins. 
U — United  States  of  America. 

IN  ALL,  1073  SUBJECTS. 

PRICE  $2,  POST-PAID. 


m~ VOLUME  III— ON  THE  ORIENT— NOW  READY.^a 
PRICE  $2,  POST-PAID. 

Gives  descriptions  of  all  the  slides  made  by  Mr.  Edward  L..  Wilson  of  his  personally 

taken  views  of  The  Sinai  Peninsula;   The  Desert  of  the  Exodus;   The 

Route  of  the  Israelites  to  the  Promised  Land ;  and 

THE  TAKING  OF  PETRA. 


NEW    LECTURES    IN    PRESS. 


by 


IiTDSeaafers.  EDWARD  L.  WILSON,  Photo.  Publisher,  Philadelphia,  Pa. 


366 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


PHOTOGRAPHIC  MOSAICS, 

. 18  8  6 • 

NOW  READY. 


144  PAGES.— 50  CENTS;   CLOTH  COVER,  $1.00—144  PAGES. 


CONTENTS. 


The  Year  of  Photography  the  Last. 

Preparation  of  Paper  with  Emulsion. 

Yellow    Stains    in    Gelatine    Negatives.     W.    H. 

Sherman,  Milwaukee,  Wis 
My  Developer.     Wm.  McComb,  Muskegon,  Mich 
An  Easy  Method  of  Saving   the  Silver  from  Old 

Fixing  Baths.     H.  D.  Garrison,  Chicago,  Ills. 
An  Amateur's  Experiments.     Marcus  H.  Rogers, 

East  Brimfield,  Mass. 
A  Good  Black  Stain      George  W.  Leas,  Peru.  Ind 
White  Light  on  Unfixed  Negatives  and  the  Stains 

Attributed  to  It.     Harry  Piatt,  Nantucket,  Mass. 
The  Background,  and   Its  Artistic  Importance  in 

Portraiture.     Dr.  St.  Samnier,  Easton,  Md. 
Insurance   by   the   P.   A.    of  A.     M.    P.    Brown, 

Tecumseh,  Mich. 
Success.     B.  T.  Rice,  Frankfort,  Kan. 
The  Storage  of  Negatives.     T.  B.  Clark,  Indiana, 

Pa 
Some  Good  Hints  and  Dodges.     Ranald  Douglas, 

West  Gardner,  Mass. 
Abuses  of  Retouching.     C.  F.  Moelk,  Edina,  Mo. 
Sensitizer  for  Gelatine   Plates.     Fr.   Perces,  Point 

Pleasant,  N.J. 
Snap-shutter    Pictures    on    Slow    Plates.     Walter 

Browne,  Brooklyn,  N.  Y. 
Printing  on  Canvas      J.  Burnet. 
The  Proper  Distribution  of  Photographic  Objects 

in  the  Space  Allotted  to  Them.     J.  H.  Sunder- 

line,  Philadelphia. 
What  to  Do  with  Your  Printing  Bath  when  it  Turns 

Yellow.     H.  G.  Parcell,  Kirksville,  Mo 
Hints  on  the  Picturesque.  E.  Livingstone,  Aberdeen. 
Things   to  "  Dont,"— for  Immatures   Exclusively. 

Thomas  Pray,  Jr.,  Boston,  Mass. 
Development  of  Instantaneous  Pictures.     Garvey 

Donaldson,  New  York. 
A  Word    about    Emulsion    Paper.     B.    Brargeoin 

Barnes. 
Dots,  Dodges,  and  Do  Thems.     Fred.  H.  Wilson, 

Philadelphia. 
An  Architectural    Morsel   for   Our   Yearly    Plate. 

M.  H    Albee,  Marlboro,  Mass. 
Just  Try  It  Once.    W .  B.  Tyler,  San  Francisco,  Cal. 
Notions   from    Nova    Scotia.     John   H.    Stubbert, 

Cape  Breton,  N    S. 
A  Very  Simple  "  Dry  "  Developer.     E.  D.  Ritton, 

Danbury,  Conn. 


29.  Othello's    Occupation   is    Not    Gone.     J.    Pitcher 

Spooner,  Stockton,  Cal. 

30.  Russian,  Prussian,  French,  German,  English,  and 

Italian.     A.  Fore.  Unner. 

31.  Photography  a  Fine  Art.     Xanthus  Smith,  Phila- 

delphia. 

32.  Jots  from  My  Journal.     Old  Graybeard. 

33.  Printing  at  the  New  Orleans  Exposition.     Charles 

E.  Fellows,  Philadelphia. 

34.  Good  Prices,  and  How  Obtained.     J.  W.  Denton, 

Jacksonville  111. 

35.  Stereo   Printing  Without   Cutting.     F.    M.   Rood, 

Poultney,  Vt. 

36.  Experience  and  Its  Worth.    David  Cooper,  Roches- 

ter, N    Y. 

37.  The  Magic  Lantern.     Jay  Densmore,  Niles,  Mich. 

38.  The  Tones  of  Lantern  Slides.     Ellerslie  Wallace. 

39.  One  Step  Higher.     Mrs.  E.  N.  Lockwood,  Ripon, 

Wisconsin. 

40.  Five  Years  of  Progress.     C.  M.  French,  Oneonta, 

New  York. 

41.  Development  of  Dry  Plates  in  Two  Solutions.     D. 

Bachrach,  Jr  ,  Baltimore,  Md. 

42.  The  Babies.     H.  S.  Keller,  Utica,  N.  Y. 

43.  An  Experience.     W.  J.  Baker,  Buffalo,  N.  Y. 

44.  Fine  Equipment  versus  Old  Traps.     G.  L.  Hurd, 

Providence,  R.  I. 

45.  Destiny.     W.  H.  Potter,  Indianapolis,  Ind 

46.  Negative   Paper :   Its  Development  and  Manage- 

ment.    David  Cooper,  Rochester,  N.  Y. 

47.  Thin    versus    Thick.      Geo.    Sperry,    Evansville 

Indiana. 

48.  A  Riddle  for  Others  to  Answer.     R.  M.  Wilson 

Grand  Rapids,  Mich. 

49.  An  Instantaneous  Shutter.     C.  C.  Clarke,  Lincoln, 

Nebraska. 

50.  Practical     Fixing    and    Washing    Trays.      J     J. 

Eskil,  Florence,  Wis. 

51.  Photography    and   Realistic   Art.     John   Bartlett, 

Philadelphia. 

52.  On  Development.     Frank  Robbins,  Oil  City,  Pa. 

53.  Don't.     J.  F.  Ryder,  Cleveland,  O. 

54.  Practical   Notes   from    Various    Sources :    Studies 

for  All  Studios.     Charles  W.  Blood,  Petoskey, 
Michigan. 

55.  Retouching   Made   Easy   on   Dry    Plates.      E.  J. 

Kildare,  Guatemala,  C.  A. 


OVER  2000  SOLD  BEFORE  ISSUE. 


EDWARD  L.  WILSON,  Photo.  Publisher,  1125  Chestnut  Street,  Philadelphia. 

Mailed  on  receipt  of  price.        For  Sale  by  all  Dealers. 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


367 


THE  STANLEY  DRY  PLATE 

Has  passed  through  the  ordeal  of  its  first  summer,  and  its  manufacturers  have  almost  entirely 
escaped  the  usual  trials  of  fogging,  frilling,  and  other  perplexities.  In  fact,  the  quantity  sold  in 
July  exceeds  that  of  any  former  month. 

Its  unustial  combination  of  sensitiveness  and  brilliancy  have  made  it  a  general  favorite,  and  the 
territory  into  which  it  penetrates  grows  constantly  larger. 

AMONG  ITS  RECENT  ACHIEVEMENTS  ARE 

Instantaneous  Views  of  the  Decoration  Day  Parade  (3d  size  stop),  taken  without 
sunlight,  used  as  a  Bulletin  Illustration. 

Views  of  Horses  and  Carriages  entering  Central  Park,  trotting  rapidly  across 
the  field  of  view,  sharp  and  clear  cut.     These  will  appear  in  the  Bulletin. 

Views  of  Steamboats  going  twenty  miles  an  hour  directly  across  the  field,  taken  at  5.30  p.  M. 
Sharp  and  clear  as  if  standing  still. 

The  Life-size  Portrait  of  J~.  F.  Ryder,  by  McMichael,  shown  at  the  Buffalo  Con- 
vention, was  made  on  an  18x22  Stanley  Plate  in  five  seconds,  with  a  Dallmeyer  Rapid 
Rectilinear  Lens. 

Instantaneous  Views,  by  Mr  Henry  J.  Newton,  President  of  Photographic  Section  of  the 
American  Institute,  about  which  he  writes  : 

"  I  found  that  sunshine  was  not  absolutely  necessary  for  Instantaneous  negatives  on 
these  plates,  and  I  think  a  majority  of  the  negatives  I  send  you  were  made  when  there  was  not  sufficient 
sunlight  to  cast  a  visible  shadow.  I  think  it  is  due  that  I  should  say  that  the  plates  worked  satisfactorily  in 
every  respect,  exhibiting  extreme  sensitiveness,  responding  readily  to  the  developer,  and  going  steadily  on 
to  the  finish. 

P.  S.  I  used  the  Prosch  Shutter  at  its  full  speed."  (Signed),  H  J.  Newton. 

And  now  to  crown  the  whole,  Mr.  Parkinson  writes  as  follows : 

Parkinson  Photq.  Parlors,  29  W.  26TH  St., 
E.  &  H.  T.  Anthony  &  Co.  :  New  York,  August  12,  1885. 

"  Gentlemen  :  I  take  pleasure  in  assuring  you  that  I  made  a  group  portrait  in  my  gallery  of  an  old  lady  of 
eighty  years,  with  child  of  four  years,  a  month  or  two  since,  on  a  Stanley  18  X  22  plate,  in  one  second, 
with  Dallmeyer  Rapid  Rectilinear  Lens.  A  little  more  time  would  have  done  no  harm ;  but  the  picture  in 
question  has  elicited  as  many  words  of  praise  from  visitors  to  my  studio  as  any  other  in  same  length  of  time." 

Yours  truly,  W.  B.  Parkinson. 


The  Stanley  Dry  Plates  can  be  had  from  any  dealer,  or  direct  from 


E.  &  H.  T.  ANTHONY  &  CO, 

591  BROADWAY,  NEW  YORK. 


Another  thing  that  has  gone  rapidly  to  the  front  is  the 


PYRO 


When  Dry  Plates  were  first  introduced  it  was  not  yet  on  the  market,  and  the  old  stereotyped 
developing  formulas  do  not  mention  it;  but  in  the  developing  formulas  of  the  more  recent  popular 
plates,  as  the  Stanley  and  the  St.  Louis,  the  E  A.  Pyro  is  recommended  as  most  desirable,  and  in 
the  Eastman  Dry  Plate  Co.  formulas  the  same  preference  is  given  ever  since  they  knew  of  its  merits. 

It  is  always  used  by  the  veteran  "Roche,"  and  constitues  one  of  the  main  elements  in  the  popu- 
lar Cooper's  Developer. 

Every  photographer  shonld  try  the  E.  A.  Pyro.  Every  dealer  has  it,  or  ought  to  have  it,  or  it 
can  be  had  direct  from 

E.  &  H.  T.  ANTHONY  &  CO.,  591  Broadway,  N.  Y. 


368  THE    PHILADELPHIA    PHOTOGRAPHER. 

PASSAVANT'S  DRY  PLATES 

ARE  CONCEDED  BY  THE  LEADING  PHOTOGRAPHERS 
OF  THE  PACIFIC  COAST  TO  BE 

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Numerous  testimonials  from  all  parts  of  the  States  at  hand.     Try  them. 

Fassavant's  Photographic  Dry  Plate  Factory, 

306  GUERRERO  STREET,  SAN  FRANCISCO,  CAL 

OS°AR  FOSS,  SOLE  AGENT  FOR  THE  PACIFIC  COAST. 

OUR  SPECIALTIES. 


BROMIDE  AMMONIUM,  Chem.  Pure. 

BROMIDE  POTASS.,  Chem.  Pure. 

NITRATE  SILVER,  Chem.  Pure. 

FOR  DRY  PLATES. 

CROSS-SWORD   DRESDEN   ALBUMEN    PAPER, 
Single  and  Extra  Brilliant.    The  Best  in  the  Market. 

ALSO  A  GENERAL  LINE  OF 

PHOTOGRAPHIC    CHEMICALS. 

A  circular,  "  How  to  Save  Waste,"  sent  on  application. 

OHAS.  COOPER  &  OO. 

194  Worth  St.,  New  York. 


THE    PHILADELPHIA    PHOTOGEAPHEE.  369 

Benj.  French  &  Co. 

No.  319  WASHINGTON  STREET,  BOSTON, 

Sole  Agents  in  the  United.  States  for  the  Celebrated  Lenses 
Manufactured  by 

VOIGTLANDER  &  SON. 


ALSO,  THEIR  FAMOUS 


Which  is  unrivalled   for  groups,  full-length  figures,  and  other  demands  in  the 
gallery,  and  every  species  of  out-door  work,  including  instantaneous  photography. 

*©*■  THE  EURYSCOPE  is  made  exclusively  by  Voigtlander  &  Son,  and  their 
name  is  engraved  on  the  tube. 


PORTRAITS.    HiiRLUT     L&bNSeiO    VIEWS. 


IMPORTERS,  ALSO,  OF  THE  CELEBRATED 

TRAPP  &  MUNCH 

ALBUMEN    PAPER, 

AND  DEALERS  IN  ALL  KINDS  OF 

Photographic  Materials  and  Magic  Lantern  Slides. 


SEND  FOE  OUR  NEW  ILLUSTRATED  PRICE  LIST  OF  LENSES 

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370 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


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THE    PHILADELPHIA   PHOTOGEAPHEE.  371 

H.  F.  CARPENTER, 

29  &  31  Page  St.,  Providence,  R.  I. 

Analytical  and  Manufacturing  Chemist. 

Refiner  of  PHOTOGRAPHIC  WASTES. 


Assayer  and   Sweep  Smelter. 

Nitrate  of  Silver  and  Chloride  of  Gold. 

Chemically  pure  gold  prepared  especially  for  Photographers' 
use  at  $i.io  per  dwt. 

Information  given   on   application    in    regard    to   methods    of 
saving  waste. 


WHAT  IS  SAID  BY  ITS  READERS: 


We  cannot  recommend  it  too  highly  to  our  colleagues. 
— Mons.  Leon  Vidal,  Editor  of  the  Paris  Moniteur. 

The  success  of  this  latest  gem  of  photographic  litera- 
ture will,  no  doubt,  be  as  great  as  the  merit  of  the  work 
deserves.  Among  the  photographic  writers  of  America 
E.  L.  Wilson  stands  without  a  compeer. — Dr.  H.  Vogel, 
Editor  of  the  Photo.  Mitth. 

By  far  the  best  photographic  book  ever  published  in 
America.  It  is  written  with  great  elegance  and  mas- 
terly handling  of  the  subject. — Dr.  E.  Horning,  Editor 
of  Photographic  Correspondez,  Vienna. 

Would  not  he  without  one  for  triple  the  price. — 
Emmerson  Goddard,  Woonsocket,  R.  I. 

It  is  a  perfect  encyclopaedia  of  the  photographic  art 
up  to  date. — H.  L.  Bliss,  Buffalo,  N.  Y. 

Photographies  is  the  most  imposing  hook  devoted  to 
photography  I  have  seen. — J.  F.  Ryder,  Cleveland. 

Photographies  looks  fine,  and  is  selling  well.  We  are 
doing  our  best  to  push  it. — W.  Irving  Adams,  N.  Y. 

The  plan  of  the  book  is  novel.  .  .  .  Mr.  Wilson  could 
hardly  fail  by  this  plan  in  making  a  useful  and  prac- 
tical publication. — Anthony's  Bulletin,  N.  Y. 

It  is  the  very  best  text-book  upon  our  beloved  art. — 
John  R.  Clemons,  Phila. 

I  have  inquiries  for  a  good  book  on  photography,  and 
I  think  yours  is  that  book. — John  Carbutt,  Phila. 

It  is  a  pity  you  can't  send  to  every  one  the  pages 
from  1  to  17;  all  would  be  sure  to  go  for  the  rest  of  it. 
— J.  H.  Hallenbeck,  New  York. 

It  is  a  complete  library. — W.  D.  Gatchel,  Cinn. 

We  know  of  no  one  in  our  fraternity  more  capable  of 
compiling  such  a  work  for  the  benefit  of  the  photo- 
graphic brotherhood  than  Mr.  Wilson. — J.  H.  Fitz- 
gibbon,  in  St.  Louis  Practical  Photographer. 

It  demands  a  position  in  the  library  of  every  photog- 
rapher, and  this  position  it  will  assuredly  attain  as 
soon  as  its  merits  become  known. — Editor  Photographic 
Times  and  American  Photographer. 

Photographies  is  my  evening  companion,  and  with  it 
the  evenings  are  very  short.  It  is  just  what  I  have 
been  wanting  for  a  long  time. — Well  G.  Singhi,  Bing- 
hampton,  N.  Y. 

It  is  a  good  work,  and  I  look  to  see  you  issue  a 
second  edition  as  soon  as  it  has  had  time  to  commend 
itself. — D.  Bachrach,  Jr.,  Bait.,  Md. 

I  consider  it  greatly  superior  to  anything  yet  pub- 
lished.— J.  B.  Leisenring,  Fort  Dodge,  Iowa. 

It  is  a  most  useful  book,  and  its  practical  teachings 
to  the  studious  photographer  contain  the  most  valuable 
information. — C.  D.  Mosher,  Chicago. 

Photographies  hits  the  nail  right  on  the  head.  I 
would  rather  have  it  than  all  the  other  books  on  pho- 
tography put  together.  The  idea  is  capital,  as  it  is 
original,  and  gives  us  the  whole  thing  in  a  nutshell. — 
B.  W.  Kilburn,  Littleton,  N.  H. 


I  hope  that  every  photographer  will  see  to  it  that  his 
$4  goes  direct  to  you,  without  any  dealer's  commission 
off,  in  order  that  you  may  have  the  full  benefit  of  its 
price — a  benefit  indeed  for  the  many  years  you  have 
played  your  part  so  carefully  upon  the  photographic 
—  for  us. — Fred.  C.  Phillips,  St.  Thomas. 


It  is  the  most  unique  aud  powerful  work  upon  the 
subject  I  have  ever  seen. — J.  E.  Beebe,  Chicago. 

The  book  of  photography.  It  is  worth  the  price  with 
compound  interest. — P.  Kellmer,  Hazleton,  Pa. 

I  have  read  Photographies  through,  and  am  fully 
satisfied  it  is  without  a  peer  in  photographic  literature. 
To  me  it  is  invaluable. — E.  P.  Hovey,  Rome,  N.  Y. 

My  friend  and  tutor,  allow  me  to  thank  you  for  your 
noble  book,  and  may  thousands  testify  to  its  value  by 
giving  it  the  chiefest  place  in  their  library. — F.  M. 
Spencer,  Mansfield,  Pa. 

I  can  assure  you  sincerely  that  I  never  invested  S4.0H 
for  reading  with  as  much  satisfaction  as  in  this  ease. —  ' 
C.  T.  Stuart,  Hartford,  Conn. 

A  short  time  since  I  had  the  pleasure  of  perusing 
your  new  book  Photographies.  As  a  result  I  want  it, 
and  enclose  check  for  four  dollars. — Geo.  Pine,  Trenton, 
New  Jersey. 

Of  all  the  photographic  literature  published,  this 
book  seems  the  very  best. — J.  P.  Spooner,  Stockton, 
Cal. 

I  am  very  much  delighted  with  it.  The  treatises  on 
dry-plates,  emulsions,  etc.  etc.,  are  all  very  minute  in 
detail. — J.  A.  Van  Drelzen,  Peoria,  111. 

I  think  the  Photographies  a  very  valuable  book,  one 
that  every  photographer  should  have. — K.  T.  Sheldon, 
West  Winsted,  Conn. 

It  is  the  best  book  I  ever  got  possession  of.  Those 
who  want  lightning  or  instantaneous  processes  had 
better  get  a  copy  and  work  with  pleasure.  Nothing 
like  it;  too  good  to  be  without. — Joseph  Theiring, 
Cincinnati,  Ohio. 

The  first  short  article  that  I  read  was  worth  the  cost 
of  the  book,  and  in  looking  it  over  find  it  contains  an 
inestimable  amount  of  valuable  information  which 
would  not  be  found  out  in  a  lifetime  of  practice. — E. 
F.  Burchand,  Worthington,  Minn. 

Your  Photographies  will  supply  a  want  long  felt 
among  the  fraternity,  more  especially  among  those  like 
ourselves  who  are  "out  of  the  world,"  so  to  speak. — 
J.  R.  Hanna,  Auckland,  Australia. 

One  hundred  dollars  would  not  buy  mine  if  I  could 
not  get  another.  I  do  not  see  how  I  managed  so  long 
without  it. — Oscar  Cromwell,  Grizzly  Flat,  Col. 

Photographies  suits  me  better  than  any  similar  work 
I  have  come  across.  The  giving  of  the  experience  of 
different  workers  on  the  same  subject,  and  giving  it  in 
their  own  words,  being  an  especially  valuable  feature. 
— S.  B.  Hill,  Flemington,  N.  J. 

Your  Photographies  is  the  best  thing  out;  practical 
and  )o  the  point,  and  no  nonsense. — Walt.  C.  North, 
Uticu,  N.  Y. 


SALE  DON'T  STOP. 

"Will  be  mailed,  post-paid,  to  any  address,  on  receipt  of  $4.00. 

EDWARD  L.  WILSON,    Author  and  Publisher,  1125  Chestnut  Street,  Philadelphia 


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Scovill  Manufacturing  Company,  Trade  Agents. 
FOR  SALE  BY  ALL  DEALERS. 


374  THE    PHILADELPHIA    PHOTOGRAPHER 


NO"W    I^EJ-A-ID 


EASTMAN'S 

PERMANENT  BROMIDE  PAPER 

FOR  ENLARGEMENTS. 

A   new   Emulsion    coated    on   Crayon    Paper,    for   working   in 
Crayon,  India  Ink,  Water  Color,  or  Oil. 

Parties  who  have  tried  other  makes  and  failed,  are  invited  to 
give  this  new  paper  a  trial.  Satisfaction  guaranteed.  For  sale 
by  all  Photo.  Stockdealers.     Liberal  discount  for  quantity. 

PRICES. 


4x5      $     40 

5x7     65 

5x8     75 

6^x8^ 1   10 

8x  lO  1  50 

10x12  2  25 

10  x  14 2  65 


11  x  14  $3  00 

14x17  4  50 

16x20 6  00 

17x20  6  40 

18x22  7  50 

20x24  9  OO 

24x30  13  50 


Other  sizes  in  proportion. 


IMPORTANT! 

With  this  paper,  enlargements  may  be  made  from  good  original 
negatives  that  require  no  finishing. 

PURE  WHITES.  PURE  BLACKS. 

SPECIAL  OFFER.  We  will  send  by  mail,  post-paid  to  any 
address  in  the  United  States,  one  dozen  iox  12  sheets,  on  receipt 
of  $1.75.     Specimen  enlargement,  10  x  12  head,  50  cents. 

Address 

THE  EASTMAN  DRY-PLATE  AND  FILM  CO. 

Rochester,  N.  Y.,  U.  S.  A. 
Branch  Office,  13  Soho  Square,  W.,  London,  England. 


THE    PHILADELPHIA    PHOTOGRAPHER. 


375 


New  Book  by  Dr.  H.W.Vogel, 

PROGRESS  0FTHPH0T0GRAPH7. 

THE  BEST  EFFORT  OF  THIS  VETERAN  TEACHER. 

Every  Photographer  and  Amateur  should  Read   it   Carefully. 

CHAPTER  I. 

PHYSICAL  EFFECTS  OF  LIGHT. 

CHAPTER  II. 

CHEMICAL  EFFECTS  OF  LIGHT. 

CHAPTER  III. 

PHOTOGRAPHIC  CHEMISTRY. 

CHAPTER  IV. 

PHOTOGRAPHIC  OPTICS. 

CHAPTER  V. 

PHOTOGRAPHIC  APPARATUS. 

CHAPTER  VI. 

THE  NEW  PHOTOGRAPHIC 
PROCESSES. 

CHAPTER  VII. 

PHOTOGRAPHIC  JESTHETICS  AND 
PORTRAIT  TECHNIQUE. 

CHAPTER  VIII. 

PHOTOGRAPHY  FOR  AMATEURS. 

As  the  Artist  should  Study  all  about  the  Face,  so  should  the 
Photographer  Study  all  about  his  Art. 

NO  BETTER  OPPORTUNITY  TO  DO  THIS  IS  AFFORDED  THAN  THAT  FOUND 

IN 

Progress  of  Photography. 


347 


^.C-EiS. 


PRICE 


$3.00 


$3.00 

With  Seventy-two  Illustrations,  and  an  admirable  portrait  taken  tvith 
Electric  Light,  by  W.  Kurtz,  New  York. 

EDWARD  L.  WILSON,  Publisher,  1125  Chestnut  St.,  Phila. 


376 


THE    PHILADELPHIA    PHOTOGRAPHER. 


DEALERS'  DIRECTORY. 


The  following  houses  are  to  be  recommended  as 
the  best  for  photographers  in  their  localities. 


S.  T.  BLESSING, 

New  Orleans,  La. 
And  Galveston,  Texas. 


THE 

BEST  BOOK 

IS 


SMITH  &  PATTISON, 

New  Location, 

145  &  147  Wabash  Avenue, 

Chicago. 


H.  A.  HYATT, 

Mound  City  Photo.  Stock  House, 

8th  and  Locust  Sts., 

St.  Louis,  Mo. 


WILSON'S 

PHOTOGRAPHICS, 

$4.00. 


D.  J.  RYAN, 

Savannah, 

Ga. 


SCOVILL  MANF'd  CO, 

423  Broome  St., 
New  York. 


D.  TUCKER  &  CO., 


Buffalo, 


N.  Y. 


ALLEN  BROS. 

Detroit, 

Michegan. 


C.H.CODMAN&CO. 

Boston,  Mass. 


WILSON,  HOOD  &  CO, 

825  Arch  Street, 
Philadelphia,  Pa. 


B.  FRENCH  &  CO. 

Boston,  Mass. 


BUCHANAN,  SIEDLEY 
&  BROMLEY, 

25  N.  Seventh  St., 

Philadelphia. 


A.  B.  PAINE  &  CO 

Fort  Scott, 

Kansas. 


MHLLETT  BROS. 

Kansas  City, 
Mo. 


OSCAR  FOSS, 

San  Francisco, 
Cal. 


E.&H.T.ANTHONY&CD. 

591  Broadway, 

New  York. 


SHEEN  &  SIMPKINSON, 

Cincinnati, 

Ohio. 


FREDERICK   MULLER, 


STUDIES 


THE  SECOND  GENNERT   FOREIGN    PRJZE  COLLECTION 

P.   A.,   of   A.   Exhibition,   Buffalo,  N.Y.,    188S. 


THE 


MMeljrta  pfh0t0papJim 


EDITED    BY    E  D  W  A  R  D    L.    WILSON, 


Vol.   XXII. 


DECEMBER,    1885. 


No.  264. 


ADIEU  TWENTY-TWO. 

We  are  too  old  now  to  try  to  attract,  or 
to  expect  very  much  attention  to  be  given, 
to  our  birthdays  ;  but  we  would  like  to  say 
&few  words  to  our  readers  at  this  the  end 
of  our  twenty-second  year. 

We  expect  to  continue  another  year.  We 
shall  issue  at  least  twice  a  month  without 
any  advance  in  price.  We  shall  incorpo- 
rate many  new  features,  especially  in  the 
direction  of  photographic  practice,  and  very 
materially  in  the  elements  of  art  principles 
applicable  to  photography.  Magnificent 
illustrations  and  embellishments,  foreign 
and  American,  are  in  preparation.  A  more 
entirely  independent  course  will  be  pursued. 
An  entirely  new  class  and  order  of  con- 
tributions is  arranged  for  the  correspond- 
ence column;  the  world's  photo-work  ;  the 
queries  corner  ;  the  illustrated  articles;  the 
working  department;  the  amateur  news 
column  ;  and  the  editorial,  will  all  be  aug- 
mented by  the  careful  personal  work  of  the 
editor,  whose  time  will  be  more  entirely 
devoted  to  the  Philadelphia  Photog- 
rapher than  ever  before. 

The  determination  is  to  continue  it,  as  it 
always  has  been,  the  very  best  magazine  of 
its  kind.  To  accomplish  all  this,  however, 
we  are  largely  dependent  upon  the  help  of 
our  patrons. 

This  is  the  time  of  year  when  the  ma- 
jority of  your  subscriptions  end.  Will  you 
not  kindly  inform  us   during  the   present 


month  whether  or  not  you  wish  to  continue 
for  any  time  in  the  future?  It  is  very  im- 
portant to  us  that  we  should  know,  in  order 
to  complete  our  contracts  for  1886. 

We  ask  prompt  remittances.  Do  not  fear 
to  remit  for  a  quarter  of  a  year,  if  unable  to 
remit  for  the  whole  volume,  for  we  do  not 
wish  to  discontinue  a  single  old  friend. 

We  do  desire  to  double  our  usefulness. 
Our  interests  are  identical,  therefore  we 
look  to  you  confidently  for  help  in  this 
direction.    Also,  see  page  3  of  our  cover. 

Now  a  right  hearty  wish  for  your  welfare 
and  progress  during  the  new  year,  and  then 
adieu  twenty-two. 

PHOTOGRAPHIC  MOSAICS,  1886. 

We  have  been  careful  this  year  not  to 
announce  Photographic  Mosaics  until  it  was 
quite  ready,  and  on  the  shelves  of  all  enter- 
prising dealers. 

Should  you  not  find  it,  we  shall  be  glad 
to  supply  you  by  post.  It  is  full  of  good, 
as  will  be  apparent  to  those  who  are  in- 
terested enough  to  scan  the  partial  list  of 
the  articles  it  contains,  given  in  the  adver- 
tisement. 

•  As  its  title-page  declar  es,  it  is  "  a  Kecord 
of  Photographic  Progress,"  and  it  has  now 
arrived  at  the  twenty-second  year  of  its  ex- 
istence. The  present  edition,  besides  giving 
a  carefully  arranged  and  classified  resume 
of  the  year's  work,  contains  an  unusually 
large  number  of  bright,  practical  articles, 


26 


378 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


which  will  serve  all  who  are  interested  in 
the  practice  of  our  art,  he  they  adepts  or  be 
they  amateurs. 

All  the  year  round,  photography  grows — 
in  influence,  in  usefulness,  in  excellence. 
Those  from  whom  we  hear  through  the 
magazines  are  not,  however,  the  only  ones 
who  help  it  grow.  Our  country  is  full  of 
thoughtful,  ingenious  practitioners,  who  say 
and  write  but  little,  but  who  are,  all  the 
time,  persistently  pushing  photography  into 
new  fields  —  who  are  discovering  new 
methods,  and  who  lift  it  higher  and  higher. 

These  men  consent  to  let  us  hear  from 
them  through  Mosaics  once  a  year,  and  you 
lose  if  you  do  not  know  what  they  say. 
Were  it  not  for  Mosaics  we  should  never 
hear  from  them — though  their  work  would 
go  right  on. 

Look  at  the  names ;  some  of  them  were 
never  heard  of  before.  Many  of  them  are 
young  men  whom  we  had  to  discover  and 
bring  out.  We  know  that  two  among  the 
best  papers  in  Mosaics  this  year  are  by 
young  men  who  arrived  at  their  majority 
since  the  articles  were  prepared.  They  are 
intensely  practical — positively. 

Veteran  names  are  there,  too,  in  plenty; 
and  you  can  scarce  scan  a  page  without  find- 
ing some  thoughts  of  value. 

Moreover,  the  papers  come  from  Cape 
Breton  to  Guatemala,  from  the  Atlantic  to 
the  Pacific,  and  from  artist,  adept,  and  ama- 
teur. 

Several  thousand  copies  are  already  sold, 
and  there  was  one  printed  for  every  needful 
earnest  photographer — unless  the  supply  is 
soon  exhausted ;  144  pages,  50  cents  in  paper, 
$1  in  cloth. 


ABOUT  INSTANTANEOUS 
PICTURES* 

BY    PROP.  H.  W.  VOGEL. 

The  reason  why  I  have  chosen  such  a 
subject  for  a  contribution  to  your  valuable 
little  annual,  The  Photographic  Mosaics  for 
1886,  lies  in  the  fact  that  during  my  summer 
rambles  I  met  with  many  a  solitary  wan- 
derer who  seemed  to  torment  himself  to 
secure  instantaneous  pictures,  but  who  in 

*  Written  for  Mosaics,  but  received  too  late. 


spite  of  his  pains  achieved  nothing.  Such 
a  votary  I  saw  engaged  in  attempting  to 
seize  the  beauties  of  the  well-known  Gol- 
linger  waterfall,  in  Salzburg.  The  sky  was 
overcast  with  heavy  rain  clouds  which 
threatened  every  moment  to  break,  and  the 
wind  kept  in  constant  motion  the  trees  in 
the  foreground,  and  yet  the  amateur  posed 
in  the  immediate  foreground,  imagined  he 
could  secure  an  instantaneous  view  under 
such  conditions.  I  examined  his  instru- 
ment. It  had  a  landscape  lens  of  primitive 
form  with  a  stop  about  the  same  size,  and  I 
could  not  help  remarking  to  him,  that,  tak- 
ing into  consideration  the  state  of  the  at- 
mosphere and  the  nature  of  his  apparatus, 
the  chances  of  securing  an  instantaneous 
view  were  almost  hopeless. 

When  informed  that  I  belonged  to  the 
profession  he  unbosomed  his  mind  to  me  and 
told  me  that  he  never  had  any  luck  with 
waterfalls.  He  had  sought  the  advice  of 
many  photographic  physicians,  applied  to 
various  dealers  to  furnish  him  with  the 
proper  sort  of  lens  to  take  waterfalls.  With 
all  varieties  of  eloquence  some  had  recom- 
mended this,  some  that.  But  now  he 
thought  he  had  surely  attained  his  longed 
for  desire  in  the  lens  he  was  using.  He  re- 
lated that  a  certain  photographer  whom  we 
will  call  X.,  whom  he  had  met  in  Switzer- 
land, had,  after  much  persuasion  and  for  a 
certain  sum,  handed  over  what  he  denomi- 
nated a  waterfall  objective,  and  now  he 
hoped  to  attain  his  long  wished-for  picture. 
I  asked  him  whether  he  had  also  purchased 
the  instantaneous  shutter  of  the  same  pho- 
tographer. He  replied  he  had  bought  this 
at  the  advice  of  another  amateur  who  never 
made  any  views  but  instantaneous  pictures. 
To  my  question  whether  he  had  ever  made 
any  views  with  the  new  apparatus,  he  made 
the  usual  evasive  answer  that  he  had  not  yet 
developed  them. 

Such  cases  as  I  have  related  always  strike 
the  professional  as  comical,  but  they  are 
not  rare.  On  another  day  I  came  across 
a  painter  with  his  camera  ready  to  shoot 
upon  a  very  dusty  roadway  frequented  with 
vehicles  of  all  sorts,  and  lined  and  shadowed 
with  heavy  trees.  He  made  use  of  an  Ap- 
lanatic  lens  and  second  stop,  and  had  his 
instrument  directed  straight  at  the  middle 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


379 


of  the  road  patiently  waiting  for  a  wagon- 
load  of  Bavarian  peasants,  which  he  ex- 
pected to  secure  en  passant  at  about  ten 
paces  distant. 

There  is  a  regular  mania  for  instantaneous 
work  amongst  the  dilletante.  If  possible, 
the  lightning  express  at  full  speed  must  be 
impressed  upon  the  sensitive  plate.  The 
first  failure  by  no  means  depresses  their 
ardor.  The  want  of  sharpness  they  attri- 
bute to  some  trifling  mishap,  and  hopefully 
set  to  work  again  without  once  stopping 
to  consider  whether  the  circumstances  are 
favorable  for  securing  an  instantaneous  view 
or  not. 

It  is  a  fact  that  the  great  sensitiveness  of 
dry  plates  facilitates  in  an  extraordinary 
manner  the  taking  of  such  instantaneous 
pictures,  and  that  there  are  even  cases  when 
it  seems  impossible  to  give  short  enough  ex- 
posure. 

Dr.  Neuhaus,  who  has  recently  returned 
from  the  Sandwich  Islands  with  a  number 
of  remarkable  pictures,  declares,  that  he 
found  it  necessary  to  make  use  of  a  Steinheil 
wide-angle  lens  with  the  smallest  stop — that 
is,  the  smallest  opening  which  can  practi- 
cally be  used  in  operating  upon  open,  sunlit 
landscapes.  All  views  not  so  taken  with  the 
instantaneous  shutter,  showed  themselves 
over-exposed,  so  brilliant  is  the  light  in  that 
region.  But  it  does  not  follow  tha'.  we 
should  always  use  for  instantaneous  work 
and  under  every  circumstance  a  wide-angle 
lens  with  smallest  stop.  What  would  do 
well  enough  for  open  landscape  will  not 
serve  in  shady  forests,  or  narrow  places,  or 
rocky  cavities  where  the  light  of  the  broad 
sky  isonly  filtered,  as  it  were,  through  small 
openings,  and  what  is  possible  in  the  broad 
light  of  noon  is  not  possible  when  the  sun  is 
declining  or  when  the  sky  is  overcast  with 
clouds.  Finally,  a  point  of  great  impor- 
tance is  the  distance  of  the  passing  object 
from  the  camera,  the  manner  of  its  passage, 
and  its  position,  whether  perpendicular  to 
the  camera  or  nearly  in  the  direction  of  the 
camera. 

Every  professional  of  experience  is  well 
aware  that  an  express  train  impresses  itself 
upon  the  field  of  vision  with  a  velocity  of 
thirty  feet  with  an  objective  of  six  inch 
focus  at  a   distance  of  twenty  paces,  and 


which  lasts  for  one-twentieth  of  a  second, 
makes  a  motion  of  one-twenty-seventh  of 
an  inch  upon  the  plate ;  that  is,  almost  a  half 
line,  which  will  give  the  impression  of  a 
blur  At  double  that  distance,  forty  paces, 
the  blurring  is  only  half  as  much  ;  at  three 
times,  one-third ;  and  much  less  when  the 
direction  of  motion  is  oblique  to  the  axis  of 
vision.  Such  facts  are  usually  overlooked 
by  the  amateur. 

Photography  is  at  present  an  easy  thing, 
but  a  certain  amount  of  mother  wit  is  neces- 
sary when  we  expect  to  succeed  with  difficult 
subjects. 


SHALL  WE  USE  QUICK  OR  SLOW 

PLATES  FOR  LANDSCAPE 

WORK?* 

BY  DR.  S.  C.  PASSAVANT. 

This  is  a  question  that  is  daily  asked  by 
the  users  of  gelatine  plates,  and  the  whole 
subject  has  been  discussed  at  length  in  pho- 
tographic societies  and  journals,  but,  like 
most  photographic  matters,  it  is  still  debata- 
ble ground,  and  the  opinions  of  even  the 
best  workers  differ. 

The  difficulty,  perhaps,  is  that  not  many 
have  seen  both  sides  of  the  shield,  and 
while  Mr.  "Expert"  is  making  first-class 
negatives  on  a  plate  showing  twenty-three  to 
twenty-five  degrees  Warnerke,  Mr.  "  Tyro' 
is  doing  equally  as  good  work  with  a  plate 
of  half  the  rapidity,  and  vice  versa. 

The  question  being  still  unsettled,  I  may 
be  permitted  to  give  briefly  my  views  on 
the  subject. 

For  landscape  work,  pure  and  simple, 
where  an  instantaneous  exposure  is  not  re- 
quired, I  believe,  and  always  advise,  that  a 
slow  plate  of  fourteen  to  sixteen  degrees 
Warnerke  will  give  better  and  more  satis- 
factory results  than  a  very  rapid  plate,  and 
for  the  following  reasons :  A  slow  plate 
gives  great  contrast  and  a  brilliant  image, 
while  a  rapid  plate  gives  a  soft  effect  and  a 
certain  flatness,  which  are  not  easily  over- 
come. In  portraiture,  where  hard  contrasts 
should  be  avoided,  these  rapid  plates  are 
very  suitable.  The  brilliancy  and  intensity 
in  a  slow  plate  are,  of  course,  largely  due  to 

*  Written  for  Mosaics,  but  received  too  late. 


380 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


the  inherent  chemical  quality  of  the  emul- 
sion. 

Again,  more  latitude  is  allowable  both  in 
exposure  and  development  with  a  slow 
plate.  A  photographer  may  be  perfectly 
acquainted  with  the  capabilities  of  his  plate 
and  lens,  and  on  ordinary  subjects  will  hit 
pretty  nearly  the  right  exposure  nine  out  of 
ten  times.  But  the  image  on  the  ground- 
glass  is  deceptive,  and  there  is  an  endless 
variety  of  subjects  where  the  most  expert 
photographer  is  puzzled,  and  hardly  knows 
what  exposure  to  give.  For  example,  dimly 
lit  landscape  under  trees ;  autumn  foliage, 
with  non-actinic  red,  yellow,  brown,  and 
dark  green  leaves  ;  heavy  black  foregrounds 
with  well-lit  distances,  need  all  the  latitude 
possible,  and  here  is  where  the  advantage 
of  the  slow  plate  comes  in.  In  doubtful 
cases,  like  those  mentioned,  a  very  full  ex- 
posure may  be  given,  and  five  or  even  ten 
seconds  too  much  will  not  prevent  a  good 
negative  from  being  obtained,  while  with  a 
rapid  plate  a  difference  of  two  or  three 
seconds  may  ruin  the  resulting  negative, 
for  it  is  almost  impossible  to  get  anything 
but  a  flat  picture  on  an  overexposed  rapid 
plate. 

It  may  be  suggested  that  by  using  a  small 
diaphragm  the  same  latitude  of  exposure 
may  be  obtained  with  a  rapid  plate  as  with 
a  slow  one.  This  may  be  so  to  a  limited 
extent,  but  working  a  very  small  diaphragm 
lessens  the  atmospheric  effect  and  gives  a 
certain  flatness  and  lack  of  brilliancy.  Dia- 
phragms ought  not  to  be  used  as  a  means  to 
lessen  the  light,  but  only  to  get  a  sharp 
picture  all  over  the  plate ;  the  largest  dia- 
phragm that  will  effect  this  is  the  right  one 
to  use,  a  smaller  one  will  give  only  monotone 
pictures  without  any  advantage. 

Then,  again,  in  development  a  slow  plate 
will  stand  more  variation  and  rougher  treat- 
ment without  fogging.  It  is  easier  re- 
strained, and  can  be  forced,  without  losing 
its  printing  qualities,  to  an  extent  which 
would  be  total  ruin  to  a  rapid  plate.  The 
greater  intensity  of  a  slow  plate  allows  one 
to  use  a  very  dilute  developer,  thus  keeping 
the  plate  under  perfect  control,  and  saving 
many  negatives  that  would  otherwise  be 
lost  through  overexposure,  but  with  a  rapid 
plate   no  such  treatment  is  allowable,  and 


overexposure  cannot  be  corrected  by  dilut- 
ing the  developer,  as  the  resulting  image 
will  be  flat  and  thin,  and  worthless  for 
printing  without  intensification.  Such  a 
plate  can  only  be  saved  by  the  addition  of 
plenty  of  bromide  from  the  very  beginning, 
and  even  then  it  is  necessary  to  vary  the 
component  parts  of  the  developer  so  often 
that  the  whole  operation  becomes  perplex- 
ing and  uncertain. 

My  advice,  therefore,  is,  use  a  slow  plate 
for  landscape  work,  give  generous  exposure, 
and  dilute  your  developer. 

TEAR-DROPS  ON  GELATINE 
NEGATIVES* 

BY  JAMES  INGLIS. 

Tear-drops  on  gelatine  negatives  may 
be  prevented  by  wiping  off  the  surplus  water 
from  the  face  of  the  negative  before  setting 
it  aside  to  dry,  either  with  a  squegee  or  a 
tuft  of  cotton,  or  any  other  convenient 
thing. 

Should  a  negative  get  spotted  from  uneven 
drying,  put  it  again  in  water  and  be  careful 
to  wipe  the  water  off  this  time  before  setting 
it  aside  to  dry,  and  it  will  be  entirely  free 
from  any  previous  marking ;  tear-drops 
have  a  tendency  to  form  upon  some  plates, 
but  with  this  precaution  observed  they  will 
never  occur. 

Brown-yellow  stains  coming  upon  nega- 
tives after  they  have  been  used  a  short  time, 
are,  if  in  the  film  and  not  on  it,  from  lack 
of  fixing.  If  a  speck  in  a  negative  should 
seem  to  hang  back  and  not  fix  like  the  rest 
of  the  plate,  unless  special  precaution  be 
taken  with  this  plate  a  stain  is  almost  sure 
to  appear  on  this  spot,  sooner  or  later.  In 
such  a  case  wash  the  plate  for  five  minutes 
or  so  after  it  seems  to  be  fixed,  then  place 
it  back  again,  for  a  few  minutes,  into  the 
fixing  solution,  or,  better  still,  pour  over  it 
an  almost  saturated  solution  of  new  hypo. 
This  will  invariably  clear  off  the  most  stub- 
born case.  These  spots  that  are  slow  to  fix 
are  from  too  thickly  coated  parts  of  the 
plate,  and  when  they  remain  in  the  soda 
for  a  long  time  the  pores  of  the  film  become 
close  and  impermeable  to  the  fixing  solution, 

*  Written  for  Mosaics,  but  received  too  late. 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


381 


but  are  immediately  opened  again  when 
put  into  water,  and  will  fix  as  readily  as  at 
first  when  put  back  into  the  soda. 

COLONEL  BARATTI'S  SHUTTER. 

Our  Italian  friend,  Colonel  Ottavio  Ba- 
ratti,  kindly  sends  us,  in  a  personal  letter, 
a  photograph  of  a  very  easily  made  shutter 
of  his  own  contrivance,  from  which  we  pre- 
sent a  Levytype  below : 


Its  construction  will  be  understood  at 
once.  Col.  Baratti  says  :  "  I  find  it  conve- 
nient on  every  occasion.  It  will  act  instan- 
taneously if  you  desire  it,  and  very  slowly  if 
you  wish  it.  Moreover,  it  is  easily  made  at 
little  cost." 

We  are  glad  to  hear  from  our  old  co- 
worker in  such  substantial  shape. 

The  Art  and  Practice  of  Silver  Printing,  by  H. 
P.  Robinson,  second  edition,  has  been  received 
from  Scovill  Manufacturing  Co.,  New  York, 
the  American  publishers.  Price,  50  cents.  This 
being  the  only  work  on  practical  printing  now 
in  the  market,  it  must  meet  the  great  demand  it 
deserves.     It  is  beautifully  gotten  up. 


OBSERVATIONS  ON  SILVER 
PRINTING.* 

BY  P.  M.  SPENCER. 

Silver  printing  is  a  subject  of  discussion 
that  may  fairly  be  said  to  have  acquired  a 
veteran  condition.  Nevertheless  its  interest, 
its  plucky  and  commanding  place  among 
all  light  processes,  its  faults  and  difficulties, 
its  successes  and  failures,  and  its  beauty  and 
commercial  favor  continue  to  force  its 
claims  and  studious  consideration  upon  us. 
Sensitive  in  the  extreme  to  varying  atmos- 
pheric conditions,  it  requires  constant  and 
intelligent  attention  to  adapt  it  to  those 
conditions.  Its  chemical  behavior  requires 
the  closest  attention  all  the  way  from  the 
printing-frame  to  the  mount.  The  object 
of  this  paper  is  to  point  out  some  of  these 
conditions  and  reactions,  and  note  the  way 
to  success. 

The  choice  of  paper  will  ever  remain  one 
of  divided  opinion,  but  it  is  manifest  that 
the  printer  is  more  often  at  fault  than  the 
paper.  But  before  we  enter  into  the  techni- 
cal discussion,  let  me  state  an  analysis  of 
my  subject.  The  silver  print :  it  is  a  pic- 
torial representation  of  some  object  usually 
upon  a  piece  of  salted  and  albumenized 
paper,  prepared  by  the  manufacturer,  as  he 
styles  himself,  and  by  processes  he  fancies 
peculiarly  his  own,  and  the  formulajealously 
withheld  from  the  consumer ;  the  pigments 
are  salts  of  silver  and  gold,  developed  by 
light  and  chemical  decomposition  or  substi- 
tution ;  the  albumenized  paper  contains  a 
percentage  of  some  soluble  chloride,  the  kind 
and  amount  unknown  to  the  printer.  When 
a  sheet  of  such  paper  is  floated  upon  a  solu- 
tion of  silver  nitrate  a  film  of  silver  chloride 
is  formed,  which  darkens  by  the  action  of 
light,  but  it  also  carries  a  variable  propor- 
tion of  free  silver  nitrate,  which,  together 
with  the  organic  matter  of  the  paper,  plays 
an  important  and  beneficial  part  in  pro- 
ducing the  print,  and  is  also  often  permitted 
to  play  havoc  afterwards. 

Chloride  of  silver  is  quite  insoluble  in 
water,  soluble  in  ammonia,  solution  of  chlo- 
ride of  sodium  in  excess,  and  completely 
soluble  in  hyposulphite  of  soda  to  saturation. 

*  Written  for  Mosaics,  but  received  too  late. 


382 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


Nitrate  of  silver  is  soluble  in  water,  but 
forms  insoluble  precipitates  by  reaction  with 
hyposulphite  of  soda  and  other  sulphur 
compounds. 

I  believe  it  is  now  proven  that  the  print 
before  toning  is  composed  of  silver  sub- 
chloride,  and  that  the  subchloride  of  silver 
has  the  property  of  decomposing  gold  ter- 
chloride,  hence  the  value  of  gold  as  a  toning 
agent,  a  portion  of  gold  quite  stable  in  its 
nature  being  substituted  for  a  portion  of 
silver  subchloride.  Subchloride  of  silver  is 
bleached  or  soluble  in  some  of  the  soluble 
salts  of  iron  in  the  presence  of  chlorine. 

Alkaline  carbonates  precipitate  nitrate  of 
silver  in  the  form  of  carbonate  of  silver  in 
an  extremely  fine  slate  of  division,  and  is 
the  cause  of  the  troublesome  white  deposit 
upon  the  prints  when  hard  water  is  used 
for  first  washings. 

With  this  analysis  of  the  print  and  the 
materials  incident  to  its  production,  before 
us,  I  will  proceed  to  describe  some  of  the 
manipulations  and  their  relation  to  that 
analysis.  We  will  suppose  N.  P.  A.  Ex. 
Brilliant  Albumen  Paper  to  be  the  repre- 
sentative of  the  brand  used.  A  plain  nitrate 
of  silver  solution,  fifty  or  sixty  grains  to  the 
ounce  of  water,  and  slightly  alkaline  with 
ammonia,  will  constitute  the  bath,  and 
enough  of  it  used  to  fill  the  dish  to  a  depth 
of  at  least  three-quarters  of  an  inch,  the 
more  the  better  if  it  does  not  overflow.  The 
paper  should  be  just  moist  enongh  to  float, 
with  a  slight  tendency  to  curl  backward, 
for  not  over  ten  seconds  after  drawing  it 
upon  the  solution  ;  if  it  be  too  dry,  its  ten- 
dency to  curl  backward  is  very  annoying, 
and  weak  or  measley  silverings  and  tear- 
drops are  likely  to  occur.  To  keep  the  paper 
always  in  a  favorable  condition,  I  have 
adopted  the  method  of  keeping  my  paper 
in  a  deep  closed  drawer,  and  I  also  place  in 
the  drawer  a  large  earthen  bowl  with  a  big 
farrier's  sponge  in  it  saturated  with  water, 
If  at  any  time  the  paper  becomes  too  moist, 
remove  the  bowl  as  long  as  it,  the  paper, 
remains  sufficiently  moist.  I  have  no  trouble 
in  that  way,  however.  The  paper  should  be 
allowed  to  float  from  two  to  three  minutes  ; 
draw  the  paper  from  the  bath  by  a  steady 
sweep  over  a  glass  rod  to  remove  the  sur- 
plus solution,  and  hang  at  once  upon  frames 


provided  with  spring  clips  at  the  corners, 
and  hang  away  to  dry ;  two  sheets  may  be 
dried  upon  each  frame.  Drawing  over  the 
glass  rod  secures  even  silvering,  and  the 
frames  compel  the  paper  to  dry  flat  and 
evenly  and  quickly.  Use  artificial  he&t only 
in  drying  when  necessary.  When  the  paper 
is  dry,  being  already  in  frames,  the  frames 
maybe  placed  in  the  fuming-box  in  another- 
room,  and  fumed  strongly  for  thirty  minutes. 
It  sometimes  happens  that  the  paper  prints 
areredeven  after  very  strong  fuming.  Why? 
By  the  action  of  light  the  chloride  of  silver 
is  reduced  to  a  subchloride,  evolving  chlo- 
rine, and  if  the  paper  be  damp  the  chlorine 
is  taken  up  by  the  water  in  the  paper  proba- 
bly as  hydrochloric  acid,  and  reddens  the 
paper  just  the  same  as  it  would  redden 
litmus  paper,  and  also  serves  in  a  measure 
to  assist  the  printing.  The  remedy  is  easy; 
dry  the  paper  and  the  pad  just  before  plac- 
ing it  upon  the  negative.  An  oil  or  gas 
stove  should  be  kept  handy  for  that  pur- 
pose, but  care  should  be  exercised  not  to 
dry  the  paper  too  much,  as  some  little 
moisture  seems  also  to  facilitate  the  reduc- 
tion of  the  chloride  of  silver.  Very  dry 
paper  is  also  both  brittle  and  disagreeable 
to  handle.  I  have  seen  prints  come  out 
weak  from  excessive  dryness  of  the  paper 
when  it  was  fully  silvered.  Having  pro- 
duced a  rich  print  with  clear  high  lights 
and  deep,  slightly  bronzed  shadows,  it 
ought  to  tone  up  rich  and  strong,  and  if  it 
does  not  do  so  the  error  was  surely  after 
the  printing ;  look  for  the  failure  close  to 
the  point  where  failure  first  revealed  itself. 
The  water  used  in  washing  the  prints 
before  toning  should  be  soft  or  very  nearly 
so.  The  first  water  should  be  acidulated 
with  acetic  acid,  one  ounce  to  each  gallon 
of  water,  put  the  prints  in  it  face  downward, 
and  keep  handling  them  over  carefully  and 
rapidly  until  they  are  quite  as  red  as  de- 
sired before  toning,  when  the  acid  water 
should  be  drawn  off  and  frequent  changes 
of  water  made  until  no  trace  of  free  nitrate 
of  silver  remains  in  the  print  or  wash  water. 
It  is  most  important  that  this  point  should 
be  strictly  observed,  as  the  permanency  of 
the  print  centres  strongly  upon  it,  for  if 
any  free  nitrate  of  silver  pass  the  toning- 
bath  it  will  most  surely  be  reduced  to  a 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


383 


sulphate  in  the  fixing-bath,  and  being  in- 
soluble cannot  be  washed  out  of  it,  and 
such  a  print  is  sure  to  testify  against  you. 
The  object  of  the  hyposulphite  bath  is  to 
remove  completely  the  remaining  chloride 
of  silver,  and  should  be  strong  enough  to 
do  it  completely  in  from  ten  to  fifteen 
minutes,  and  to  prevent  or  control  the  ten- 
dency of  heavily  albumenized  papers  to 
blister.  They  should  be  passed  directly 
from  the  fixing-bath  to  a  strong  bath  of 
Ashton  salt,  in  which  they  should  be 
allowed  to  remain  not  more  than  five 
minutes,  when  they  may  be  transferred  to 
the  tank  for  final  washing,  which  should 
occupy  at  least  five  hours  with  frequent  and 
complete  changes  of  water.  When  good 
hydrant  water  can  be  had,  an  automatic 
washer,  with  siphon  attachment  to  make 
the  changes,  is  no  doubt  the  best  plan  yet 
devised.  It  should  be  observed  that  in  no 
part  of  the  manipulations  incident  to  toning 
ought  the  prints  be  allowed  to  rest ;  con- 
stant agitation  should  be  maintained. 

The  paper,  the  silver  bath,  gold  bath, 
and  the  fixing-bath  even  have,  doubtless, 
often  been  heaped  with  curses  most  unkind 
for  a  chain  of  evils  belonging  to  the  water 
used  in  the  preliminary  washings.  I  cannot 
make  a  better  explanation  than  by  relating 
a  bit  of  experience.  For  twenty  years  I 
was  located  where  the  most  practical  means 
of  water  supply  at  my  command  was  buckets 
and  resolute  arms  to  bear  them.  I  had  the 
freedom  of  all  the  wells  in  the  neighbor- 
hood and  a  good  creek  hard  by'  until  a 
corporation  sewer  invaded  it.  I  had  my 
choice  of  water  and  used  it,  and  I  enjoyed  it 
too.  Last  January  I  moved  into  new  rooms 
fitted  with  gas  and  water,  and  the  best  of 
operating  and  printing  lights.  My  water 
is  forced  by  windmill  to  a  large  storage 
tank,  and  comes  to  me  through  about  twenty 
rods  of  wrought-iron  pipe.  I  had  trouble 
with  my  prints  from  the  start ;  no  matter 
how  fine  they  came  from  the  printing-block, 
they  would  be  stained  and  weak — in  fact, 
bilious,  and  the  consumption  of  gold  would 
put  the  blush  on  a  Wall  Street  broker. 
The  stains  were  the  neatest  specimens  of 
nastiness  I  ever  saw — very  suggestive  of 
"crude  oil."  I  suspected  the  water,  and 
found   that  it   contained   sufficient  soluble 


iron  to  supply  a  dozen  summer  resorts. 
The  solution  of  my  trouble  was  complete. 
Soluble  iron  in  the  presence  of  chlorine  did 
the  bleaching,  reduced  the  gold,  and  stained 
the  prints  by  oxidization.  A  three  hundred- 
barrel  cistern  of  soft  water  in  the  cellar 
furnished  the  remedy,  but  I  am  convinced 
that  there  is  an  immoral  accent  to  chaly- 
beate waters  for  photographic  use. 
Mansfield,  Pa. 

NO  BLISTERS  IN  MINE* 

BY    H.  MCNEILL. 

Mosaics  has  been  a  great  help  to  me  in 
years  past,  and  if  this  article  will  help  any 
one  out  of  trouble  I  shall  be  glad. 

Now,  in  the  first  place,  I  wish  to  say  that 
I  have  been  bothered  occasionally  with 
blisters,  and  I  have  been  experimenting  for 
the  past  year  to  find  a  cure  for  them. 

The  paper  used  has  been  N.  P.  A.  and 
Eagle  brands.  I  have  tried  some  of  the 
nicely  printed  formulae  sent  out  by  the 
dealers  handling  these  papers  and  I  could 
get  some  of  the  most  beautiful  blisters  that 
I  ever  saw.  My  experimenting  has  shown 
me  this  : 

1st.  That  gold  and  hypo  the  same  tem- 
perature will  not  prevent  blisters. 

2d.  That  using  water  the  same  tempera- 
ture for  washing  the  prints  will  not  prevent 
blisters. 

3d.  That  paper  dampened  before  silvering 
will  not  prevent  blisters. 

4th.  That  a  bath  of  salt  and  water  after 
fixing  will  not  prevent  blisters. 

Now  I  wish  to  give  the  way  that  I  have 
worked,  without  once  seeing  a  blister  in 
printing  nearly  three  thousand  prints. 

Formula  for  bath  :  Silver  bath ,  from  fifty 
to  sixty  grains  of  silver  to  the  ounce  of 
water. 

Put  nothing  into  this  silver  bath  when  it 
is  made  up  but  silver  and  water. 

Keep  the  paper  in  a  dry  place,  and  float 
it  when  it  is  dry  one  and  one-half  to  two 
minutes,  dry  thoroughly  before  fuming  and 
fume  fifteen  minutes. 

Wash  the  prints  in  three  waters,  then  red 
them  in  water,  one  gallon  to  one  ounce  of 

*  Written  for  Mosaics,  but  received  too  late. 


384 


THE    PHILADELPHIA    PHOTOGEAPHEK. 


salt.  "Wash  in  two  more  waters  and  tone 
with  gold  slightly  alkaline  with  sal  soda. 

Fix  as  usual  in  one  ounce  of  hypo  to  four 
ounces  of  water. 

Wash  prints  in  running  water  two  hours 
for  final  washing. 

Feedonia,  N.  T. 

MR.  IVES  TO  THE  PUBLIC. 

Editor  Philadelphia  Potographer: 

Kindly  permit  me  to  repeat  that  I  have 
always  acknowledged  Dr.  Vogel's  claim 
to  be  the  first  to  make  bromide  of  silver 
sensitive  to  color  by  staining  it  with  dyes, 
and  the-  estimate  I  have  given  of  the 
practical  value  of  his  early  "process"  with 
corallin  was  quoted  from  his  own  writings. 
But  I  have  also  proved  by  his  own  writings 
that  he  did  not  publish  or  realize  a  practical 
process  of  photographing  all  colors  correctly 
in  1873,  nor  in  1874,  nor  in  1875,  nor  in  1876, 
nor  in  1877,  nor  in  1878,  nor  in  1879,  nor  in 
1880,  nor  in  1881,  nor  in  1882,  nor  in  1883. 
Although  he  has  recently  asserted  thatchlo- 
rophyl  plates,  which  he  tried  in  1875,  were 
substantially  the  same  as  my  own,  he  cer- 
tainly did  not  use  myrtle-chlorophyl,  did  not 
say  that  he  had  exposed  any  kind  of  a  chlo- 
rophyl  plate  through  a  yellow  color-screen, 
did  not  suggest  the  possibility  that  any 
chlorophyl  plate  could  by  any  means  be 
made  to  photograph  all  colors  correctly,  and 
did  not  even  announce  that  he  found  chlo- 
rophyl superior  to  corallin,  which  is  about 
eight  times  less  powerful  than  eosine.  Even 
Ducos  du  Hauron  did  not  use  myrtle-chlo- 
rophyl, did  not  use  a  collodion  emulsion,  did 
not  say  that  he  had  ever  exposed  a  chlo- 
rophyl plate  of  any  kind  through  a  yellow 
color-screen,  and  never  once  claimed  to  have 
tried  to  make  what  we  now  call  an  ortho- 
chromatic  photograph. 

I  have  shown  that  I  not  only  published  a 
complete  process,  in  full  detail,  but  that  the 
plates  would  give  better  results  than  the 
eosine  plates  for  which  Dr.  Vogel  claimed 
so  much.  Dr.  Vogel  denies  this  superiority, 
but  it  is  no  less  a  fact ;  and  it  is  well  known 
to  many  who  have  seen  our  exhibits  at  the 
Novelties  Exhibition  of  the  Franklin  Insti- 
tute that  even  Dr.  Vogel's  most  recent  and 
secret  "  azaline "  plates  do  not  give  better 


results  than  my  chlorophyl  process,  which  is 
the  first  method  by  which  all  colors  were 
photographed  correctly. 

It  may  be  true  that  the  wet  eosine  pro- 
cess is  largely  employed  in  Germany,  but  so 
is  the  ordinary  bath  process  ;  both  are  use- 
ful processes,  and  neither  of  them  will  pho- 
tograph all  colors  correctly.  Dr.  Vogel 
persists  in  ignoring  the  fact  that  my  chlo- 
rophyl process  of  1879  will  photograph  all 
colors  correctly,  while  his  wet  eosine  process 
of  1884  is  insensitive  to  scarlet  and  ruby- 
red.  He  ignores  the  fact  that  even  as  re- 
cently as  1884  he  expressly  stated  that  his 
early  researches  (previous  to  the  publication 
of  the  wet  eosine  process)  were  "of  merely 
scientific  value,"  asserted  that  the  wet  eosine 
process  was  the  "solution  of  a  problem," 
and  thatalthough  other?  mighthaveasimilar 
process  "  nothing  had  yet  been  published." 
He  ignores  the  fact  that  he  never  published, 
fully  and  connectedly,  any  process  of  pho- 
tographing all  colors  correctly.  He  charges 
that  I  have  misrepresented  his  processes. 
I  most  emphatically  deny  that  I  have  ever 
stated  anything  but  the  truth  about  them. 
I  do  not  pretend  to  know  who  uses  my  own 
process,  because  any  one  may  do  so  without 
my  knowledge  ;  but  when  Dr.  Vogel  asserts 
that  it  is  used  only  by  myself,  he  asserts 
what  he  does  not  know. 

Kespectfully, 

Fred.  E.  Ives. 

[If  Dr.  Vogel  could  read,  write,  and  speak 
English  more  readily,  we  think  there  would 
be  a  better  understanding  between  Mr.  Ives 
and  him.  We  do  our  best  at  translating  the 
good  doctor's  German,  but  we  may  make  as 
awful  blunders  as  he  must  sometimes  make 
when  trying  to  understand  what  we  write. 

We  know  him  so  well  that  we  are  sure  he 
would  not  purposely  make  a  misstatement. 
And  we  believe  we  can  say  the  same  for 
Mr.  Ives.  Two  such  men — so  genuinely 
desirous  of  promoting  the  growth  and  good 
of  photography  far  above  all  selfish  interest, 
should  not  be  made  to  appear  at  sword's 
points — aber  hier  zu  verstehen  sind  wir  ver- 
loren.— Ed.  P.  P.] 


Photographic  Mosaics  for  1886  is  now 
ready.  It  is  replete  with  good  things.  144 
pages  50  cents,  mailed  free. 


THE   PHILADELPHIA    PHOTOGEAPHEE. 


385 


PERTAINING  TO  THE 


Keport  of  the  Treasurer. 

Treasurer's  Office, 
Providence,  R.  I  ,  Oct.  30,  1885. 

At  last  I  am  able  to  render  my  report. 
Should  have  done  so  long  ago  were  I  not 
delayed  by  not  receiving  all  the  money  due 
the  Association,  and  even  now  there  is  money 
due.  but  Secretary  McMichael  says  he  has 
given  all  ample  time  to  settle  were  the  par- 
ties inclined  to  do  so. 

In  printing  report,  please  observe  foot- 
note with  reference  to  the  box  broken  at 
Cincinnati.  W.  A.  Armstrong  declined  to 
pay  the  draft  made  upon  him  by  President 
Kent  and  Secretary  Weingartner,  and  we 
had  to  pay  the  expense  of  bank  protest, 
which  reduces  our  showing  $56.92,  but  for 
all  that,  I  hope  we  have  done  what  will 
please  the  members. 

Also,  please  observe  foot-note  with  refer- 
ence to  number  of  paying-members. 

Fraternally  and  cordially  yours, 

G.  M.  Carlisle. 

P.  S. — By  referring  to  Mr.  Armstrong's 
report  last  year,  you  will  observe  that  he  and 
Mr.  Weingartner  took  five  per  cent,  of  the 
balance  turned  over  to  them  by  the  former 
Treasurer.  I  cannot  so  construe  the  Con- 
stitution as  to  allow  me  to  do  so. 

G.  M.  Carlisle. 

G.  M.  Carlisle,  Treasurer,  in  account 
with  the  Photographers'  Association  of 
America,  1 885 : 

Receipts — 1885. 
January  29,  received  from  W.  A. 

Armstrong  ..... 
July  14-18,  received  from — 

194*  members,  $5  each        .         .      970.00 

Forward       .         .         .         .$1571.44 


.44 


Brought  forward  .         .  $1571.44 

431*  members,  $2  each        .         .      862.00 
Admission  to  Exhibit,  715  people 

at  25  cents  each        .         .         .178.75 
H.  McMichael     ....    1711.34 
Aug.  4th,  from  H.  McMichael        .      110.50 
Sept.  16th,  from  Blair  Tourograph 

Co 12000 

Oct.  21,  fromH.  McMichael  .         .       58.50 

Oct.  23,  from  H.  McMichael  .        19.00 

From  sale  of  step-ladder  at  Buffalo  .75 

Total      .  ...         $4632.28 


Expenditures  — 1885. 

Jan.  25,  paid — 

For   books   for    the    Association 

(vouchers)        .... 

16.00 

A.  Field  &  Co.,  for  100  notices 

(vouchers)         .... 

3.00 

For  1600  wrappers   for   mailing 

by-laws    ..... 

3.00 

Paid  at  Buffalo  for — 

Blotting-paper,  pens,  ink,  and 

screw-driver 

1.15 

Conductor's  punch  . 

1.25 

Tacks  to  put  up  German  Ex- 

hibit      

6 

Cotton  cloth  (voucher)     . 

11.32 

Step-ladder  (voucher) 

1.75 

Messenger  boy 

.20 

Advertising    in    local    papers 

(vouchers)    .... 

7.00 

A.  Cutler  &  Son,  carting  desks 

(voucher)      .... 

5  00 

Printing  1000  admission  tickets 

(voucher)      .... 

2.75 

David  Tucker  &  Co.,  exchange 

on  drafts      .... 

1.05 

For  clerk  hire,  wrapping,  stamp- 

ing, and  addressing   1600  by- 

laws at  1  cent  each 

16  00 

Postage,  telegraphing,  and    ex- 

press to  date     .... 

29.20 

Draftf  1,  J.  F.  Kyder,  expense 

Ex.  Com.  meeting   . 

23.00 

Forward        .... 

$121.73 

*  I  reported  at  Buffalo  an  attendance  of  434, 
but  upon  counting  up  I  discovered  an  error  in 
the  numbering  of  the  receipt  stubs,  which  re- 
duced the  actual  number  of  paying  members  this 
year  to  425. 


386 


THE    PHILADELPHIA    PHOTOGKAPHEP. 


Brought  forward  .         .         .  $121.73 

Draftf  2,  W.  A.  Armstrong,  ex- 
pense Ex.  Com.  meeting  .        53.60 

Draftf  3,  J.  Lundy,  expense  Ex. 

Com.  meeting  ....        39.75 

Draftf  6,  G.  M.  Carlisle,  expense 

Ex.  Com.  meeting   .         .  30  00 

Draftsf  7  and  8,  L.  Weingartner, 
expense  Ex.  Com.  meeting      .        36.00 

Draftf  4,  H.  Mc Michael  (money 

for  sundries)     ....      150.00 

Draftf  5,  Scovill  Manufacturing 
Co.,  for  box  broken  at  Cincin- 
nati   56.92 

Drafts    9,  10,  and  11,  H.  McMi- 

chael        .         .         .         ...       90.00 

Drafts  12  and  14,  Cyrus  Morgan 

(stenographer)  .         .         .      350.00 

Draft  13,  N.   H.   Baker,   use  of 

chairs 80.00 

Draft  15,  Edward  Hayes,  carpen- 
ter's bill 307.78 

Draft  16,  G.  L.  Hurd,  writing  up 

exhibit 25.00 

Draft  17,  rent  of  hall  .         .         .      500.00 

Draft  18,  John  Flanagan,  police- 
man, taking  tickets  at  door      .  4.00 

Drafts  19  and  20,  H.  McMichael      527.93 

Draft  21,  Scovill  Manufacturing 

Co.,  die  for  badges  .         .         .        50  00 

Draft  22,  J.  F.  Byder,  notices 
(reduced  railroad  fare)  to  mem- 
bers   4.50 

Draft  23,  J.  Landy,  expense  to 

Buffalo,  July  1,  1885        .         .        30.00 

Draft  24,  H.  McMichael      .         .        25.00 

Draft  25,  G.  Gennert,  expense  on 

German  exhibit        .         .         .       31.00 

Draft   26,    W.    A.    Armstrong, 

copying  list  of  names       .         .         3.94 

G.  M.  Carlisle,  5  per  ct.  receipts      201.54 


Total         .... 
Cash  in  hands  of  treasurer 


$2718.69 
1913.59 


$4632.28 
Kespectfully  submitted, 

G.  M.  Carlisle, 


Treasurer. 


f  Items  marked  ff )  properly  belong  to  expense 
account  of  1884. 


THE  BICHROMATE  DISEASE* 

BY   DR.  JOHN  H.  JANEWAY,  TJ.  S.  A. 

I  have  lately  been  consulted  by  a  gentle- 
man for  a  peculiar  and  painful  skin  affection, 
withdeepand  intractable  ulcerations,  which, 
upon  hearing  the  history  of  the  case,  left  no 
doubt  upon  my  mind  that  I  had  to  deal  with 
a  case  of  metallic  poisoning,  and  known  as 
the  bichromate  disease  ;  and  I  thought  that 
a  note  of  warning  to  the  amateur  photo- 
grapher would  not  come  amiss  ;  as  a  knowl- 
edge of  the  source  of  the  trouble  would 
simplify  the  case,  lead  to  a  correct  treat- 
ment, quicken  the  relief  of  this  painful 
disease,  and  successfully  cure  it.  Blyth,  in 
his  manual  on  Poisons:  their  Effects  and 
Detection,  says,  "  That  the  only  salts  of 
chromium  of  toxicological  importance,  are 
the  neutral  chromate  of  potash,  bichromate 
of  potash,  and  the  chromate  of  lead;  that 
in  the  chromates  of  potash  there  is  a  com- 
bination of  two  poisonous  metals."  Harts- 
horn's edition  of  Taylor's  Medical  Juris- 
prudence states  that  there  can  be  no  doubt 
that  this  salt  (bichromate  of  potash)  is  a 
very  active  poison;  that  Mr.  West  has  re- 
cently published  a  case,  from  which  it  ap- 
pears that  a  medical  man  who  had  inad- 
vertently tasted  a  solution  of  bichromate  of 
potash,  suffered  from  very  severe  symptoms, 
resembling  those  of  Asiatic  cholera.  Again, 
several  fatal  cases  from  this  poison  have 
recently  occurred  in  this  country,  especially 
in  Baltimore,  where  this  salt  is  manufactured 
on  a  large  scale. 

In  Wharton  &  Stille  {Medical  Jurispru- 
dence) it  is  stated  :  "  This  salt  being  exten- 
sively used  in  dyeing,  has  given  rise  in 
several  instances  to  accidental  poisoning. 
Locally  applied,  its  action  is  irritant,  causing 
the  workmen  who  make  use  of  it  trouble- 
some sores  and  ulcerations  upon  the  hands. 
Several  fatal  cases  from  drinking  a  solu- 
tion of  this  salt  have  been  reported  in  this 
country  from  time  to  time."  The  case  of  a 
photographer  of  Boston   is   reported,   who 

*  This  paper  may  save  many  lives  and  should 
be  printed  in  every  language.  We  commend  it 
to  the  careful  reading  of  all  who  have  to  do  with 
poisons. — Ed.  P.  P. 

Read  before  the  Society  of  Amateur  Photog- 
raphers of  New  York,  October  13,  1885. 


THE    PHILADELPHIA    PHOTOGRAPHER 


387 


mistook  in  the  dark  room  a  solution  of  bi- 
chromate for  ale,  and  drank  a  glass  of  it. 
He  discovered  his  mistake  immediately  and 
used  appropriate  antidotes,  but  his  life  hung 
on  a  thread  for  a  number  of  days,  and  it 
was  a  long  time  before  he  entirely  recovered. 
But  it  is  not  with  the  acute  poisoning  that 
we  have  now  to  deal,  but  with  a  much  more 
insidious,  more  common  occurrence — and 
often  unsuspected — the  absorption  of  the 
poison  in  very  minute  quantities,  either  by 
the  air  passages  or  the  skin  of  the  hand. 

Blyth  states  "  that  the  workmen  engaged 
in  the  manufacture  of  potassic  bichromate, 
exposed  to  the  dust,  have  suffered .  from  a 
very  peculiar  train  of  symptoms,  and  which 
was  first  described  by  Dr.  B.  W.  Richard- 
son in  the  British  and  Foreign  Medico-Chi- 
rurgical  Review,  October,  1863,  and  London 
Lancet,  March  11,  1882:  "It  appears  that 
if  the  workmen  inspire  the  particles  chiefly 
through  the  mouth,  a  bitter  and  disagreeable 
taste  is  experienced,  with  an  increase  of 
saliva.  This  increase  of  buccal  secretion 
gets  rid  of  most  of  the  poison,  and  in  that 
case  but  little  ill  effect  is  experienced;  but 
those  who  keep  the  mouth  closed  and  inspire 
by  the  nose,  suffer  from  an  inflammation  of 
the  septum,  which  gradually  gets  thin  and 
ulcerated.  Finally  the  whole  septum  is  in 
this  way  destroyed.  It  is  stated  that  when 
a  workman  has  lost  his  nasal  septum  he  no 
longer  suffers  from  nasal  irritation  and  has 
a  remarkable  immunity  from  catarrh." 
The  same  author  states  that  the  bichromate 
also  causes  painful  skin  affections,  eruptions 
akin  to  eczema  or  psoriasis,  also  very  deep 
and  intractable  ulcerations  ;  that  these  cu- 
taneous maladies  start  from  an  excoriation  ; 
that  so  long  as  the  skin  is  not  broken  there 
seems  to  be  little  local  effect,  if  any.  It  is 
also  stated  that  horses  employed  in  these 
factories  suffer  from  ulcerated  hoofs  and 
sometimes  lose  them.  It  is  to  the  statement 
that  an  excoriation  must  exist  to  produce 
the  injurious  effects,  that  we  must  pay 
attention.  The  absorption  of  the  poison 
through  a  denuded  skin— small  though  the 
abrasion  may  be — is  not  to  be  denied,  and 
we  believe  from  experience  that  frequent 
exposure  to  the  poison  increases  the  liability 
to  absorption  in  an  increased  ratio;  for  the 
irritant  effect  of  the  salt  increases  the  area 


of  abrasion,  and  stimulates  the  absorbents 
to  take  up  a  larger  quantity  of  the  poison 
each  time.  And  it  must  also  be  admitted 
that  the  poison  is  absorbed  by  contact  with 
the  delicate  mucous  membrane  lining  the 
air  passages,  principally  the  nose ;  though 
I  must  differ  with  those  who  think  that  the 
poison  expends  itself  there  by  destruction  of 
the  tissues  only  ;  for  I  think  that  some  cases 
of  constitutional  disturbances  can  be  clearly 
traced  to  the  inhaling  of  the  poison  in  a 
very  finely  divided  solid  state,  as  dust,  and 
by  inhaling  the  vapors  arising  from  the  pro- 
cess of  solution.  There  is  a  peculiarity  with 
this  poison,  which  I  do  not  find  mentioned 
in  any  article  upon  this  subject,  very  similar 
to  the  effect  of  some  of  the  living  vegetable 
poisons,  that  is,  the  point  of  saturation  seems 
to  be  very  far  off,  if  arrived  at  at  all.  I 
mean  in  those  who  are  affected  by  the  con- 
stitutional or  cutaneous  form  of  the  disease, 
and  not  those  who  have  had  the  disease  in  a 
more  violent  form  as  by  losing  the  septum 
of  the  nose — and  who  seem  really  to  have 
arrived  at  the  point  of  saturation,  and  that 
is,  the  increased  liability  to  the  effects  of  the 
poison.  Let  a  person  once  become  affected 
through  an  excoriated  surface,  and  have 
the  constitutional  effects  presented,  such  as 
eczema,  psoriasis,  or  deep,  troublesome,  in- 
tractable excoriations,  either  on  the  hand 
or  in  the  form  of  painful,  itching,  hard,  and 
so-called  slow  boils  in  different  parts  of  the 
body,  and  he  is  extremely  liable,  whenever 
he  works  with  bichromate,  to  have  another 
attack  ;  and  in  each  attack  it  seems  to  re- 
quire a  much  less  concentrated  form  of  the 
poison  to  produce  the  characteristic  symp- 
toms of  this  painful  disease. 

As  no  one  knows  his  susceptibility  to  the 
effects  of  this  poison  without  experience,  or 
when  a  presumed  immunity  from  them  may 
cease,  it  is  well  to  handle  this  salt  with  ex- 
treme care  either  in  the  dry  state  or  in  solu- 
tion. The  fine  dust  arising  from  the  friction 
of  the  crystals  inhaled  by  the  nose,  even  in 
a  very  minute  quantity,  often  gives  rise  to 
a  distressing  and  obstinate  catarrh.  An  un- 
suspected abrasion  of  the  skin  upon  the  hand 
or  finger,  and  especially  around  the  nails, 
affords  a  site  for  absorption  when  a  solution 
is  employed. 

Symptoms,  in  a  general  way,  by  contact 


388 


THE  PHILADELPHIA  PHOTOGEAPHER. 


with  the  nasal  membranes :  A  slight  ting- 
ling with  a  sensation  of  heat,  followed  by 
persistent  sneezing  ;  then  all  the  character- 
istic symptoms  of  a  sharp  catarrh  of  the 
head,  and  which  strongly  resists  all  remedial 
agents — a  continuous  exposure  resulting  in 
destruction  of  the  nasal  septum.  When  this 
occurs,  the  person  seems  to  have  arrived  at 
a  point  of  saturation,  and  immunity  from 
further  constitutional  effects.  But,  owing 
to  some  idiosyncrasy  or  peculiarity  of  con- 
stitution, or  from  less  exposure,  the  poison, 
instead  of  destroying  the  tissues,  manifests 
itself  in  some  constitutional  form,  similar  to 
those  produced  by  absorption  through  an 
abraded  surface. 

Symptoms  following  from  contact  with 
an  abraded  surface:  A  sense  of  tingling  or 
smarting,  followed  by  heat  and  soreness  at 
some  small  spot  on  the  finger  or  hand.  Con- 
tinued exposure,  by  dipping  the  hands  in  a 
solution  or  handling  this  salt  in  a  dry  state, 
increases  the  effect,  and  we  have  excoriations 
obstinate  in  their  character.  These,  followed 
by  the  constitutional  symptoms,  charac- 
terized either  in  the  form  of  eczema  or 
psoriasis  on  the  hands,  in  the  flexures  of  the 
joints,  or  on  different  parts  of  the  body, 
resembling,  oftentimes,  boils,  hard  and  pain- 
ful, and  with  little  breaking  down  of  their 
substances  by  suppuration,  etc.  The  victim 
experiences  frequent  crops  of  them,  often 
without  any  apparent  cause;  but,  errors  in 
diet  or  sudden  changes  in  temperature  fre- 
quently seem  to  induce  a  fresh  eruption. 
The  obstinacy  of  this  disease  is  character- 
istic, and  the  person's  life  is  rendered  miser- 
able for  a  long  time  by  its  persistency  and 
liability  to  recur. 


HOW  THE  NEW  YORK  "WORLD" 
EXPATIATES  ON  PHOTOGRAPHY. 


BY  AN    AMATEUR. 


There  was  a  time  when  a  man  could  be 
pretty  certain  that  he  had  a  vested,  inalien- 
able, and  indisputable  right  to  the  sole  pos- 
session of  his  own  features.  Unless  he  was 
a  criminal  and  forced  to  sit  for  his  portrait 
as  a  much-needed  addition  to  the  Eogues' 
Gallery  he  felt  that  he  had  a  certain  control 
over  any  counterfeit  presentment  of  himself 
which  might  come  into  existence.     A  little 


while  ago  a  man  knew  pretty  well  when  he 
had  his  picture  taken.  It  was  an  event 
rather  than  an  episode.  It  meant  putting 
on  his  Sunday  clothes  in  the  middle  of  a 
week,  taking  two  or  three  hours  out  of  a 
busy  day,  brushing  his  hair  with  a  very  sus- 
picious-looking brush,  being  set  up  in  a 
chair  with  his  head  in  a  vise,  being  told  to 
"wink  as  often  as  you  choose,"  and  feeling 
more  like  a  fool  than  he  did  when  he  was 
married. 

But  all  this  has  been  changed.  No  man 
is  safe  now  during  the  hours  of  daylight, 
even  in  his  own  house,  and  in  the  street  he 
is  actually  in  peril  of  having  his  picture 
taken  at  any  moment.  This  is  due  to  two 
things.  First,  the  rapid  increase  in  the 
number  of  amateur  photographers  ;  and, 
second,  to  the  invention  of  the  "Detective 
Camera."  The  amateur  photographer  has 
been  hitherto  an  obvious  nuisance.  His 
three-legged  infernal  machine  has  been  set 
up  in  the  face  and  eyes  of  the  community 
at  all  sorts  of  times  and  places,  opportune  and 
inopportune,  but  now  all  this  is  changed, 
and  he  can  and  does  "marvel"  about  the 
world,  like  a  thief  in  the  dark,  taking  in- 
stantaneous photographs  while  his  unwit- 
ting victim  is  all  unconscious  of  the  fact 
that  he  is  being  made  ridiculous  for  the 
benefit  of  posterity — and  somebody  else's 
posterity  at  that. 

The  Scovill  Manufacturing  Company,  on 
Broome  street,  is  the  great  depot  for  ama- 
teurs' supplies,  and  here  the  cost  of  the 
amusement  was  investigated.  "  An  outfit 
for  $10,"  was  the  reply  to  the  first  question. 
"  That  is  the  camera,  lens,  and  tripod. 
With  all  the  materials  to  make  pictures,  de- 
velop, print,  and  mount  them  about  $20  is 
the  lowest  figure.  From  that  up  almost 
any  amount  of  money  can  be  spent  if  the 
amateur  is  rich  or  extravagant.  Everybody 
now  uses  dry  plates,  of  which  there  are  sev- 
eral makers.  These  are  put  in  a  box  and 
kept  as  long  as  you  wish  before  developing. 
You  can  go  in  a  dark  room  at  any  time, 
however,  at  night  and  with  a  red  lantern 
develop.  Many  amateurs  put  ruby  paper 
over  the  windows  of  a  bathroom  and  use 
that  with  its  running  water  as  a  very  prac- 
tical and  convenient  dark-room.  Plates 
cost  from  forty-five  cents  a  dozen  up,  and 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


389 


sensitized  paper  prepared  for  printing  costs 
$3  a  dozen  sheets,  18  x  22.  These  do  away 
with  all  the  dirty  work  which  formerly  de- 
terred many  people  from  becoming  ama- 
teurs in  photography."  The  way  people 
learn  the  art  was  demonstrated  by  showing 
me  seventeen  different  handbooks  on  pho- 
tography. 

"  Now  show  me  a  detective  camera."  I 
was  handed  something  which  looked  ex- 
actly like  a  small,  black,  Kussia-leather 
handbag,  and  directed  to  take  it  under  my 
left  arm.     I  did  so. 

"Put  your  left  hand  under  the  bottom." 
I  obeyed  orders. 

"Do  you  feel  a  small  string?  You  do? 
All  right.  Now  turn  around  and  point  it 
out  of  the  window.  That's  right.  Now 
lift  up  that  small  ornamental  piece  of  leather 
at  the  end  of  the  handle  with  your  right 
hand."  I  followed  these  directions  and  saw 
a  small  circle  of  ground-glass  little  larger 
than  a  half  dollar,  upon  which  was  the  re- 
flection of  an  Italian  in  a  red  shirt  washing 
himself  in  a  tin  basin  on  an  iron  tire-escape. 
I  loooked  out  of  the  window,  and  there  was 
the  Italian  outside  a  rear  tenement. 

"Now  press  the  spring  once  quick."  I 
did  so,  and  heard  a  sharp  click  as  the  in- 
stantaneous exposure  was  given  through  a 
small  opening  in  the  end  of  the  bag.  Then 
the  bag  was  opened,  the  negative  removed, 
developed  in  a  few  moments,  and  I  had 
taken  one  of  the  most  remarkable  pictures 
on  record — that  of  an  Italian  washing  him- 
self. Except  by  the  aid  of  a  detective  cam- 
era, or  a  search  warrant,  no  Italian  could 
possibly  be  discovered  so  engaged. 


PYROGALLIC  ACID  AND  OXALATE 
OF  IRON. 


BY  M.  ROSSIGNOL. 


In  spite  of  certain  well-known  objections, 
oxalate  of  iron  development  is  still,  up  to 
the  present  time,  the  oftenest  used,  and 
almost  the  only  one  recommended  in  the 
notices  accompanying  the  gelatino-bromide 
plates  made  by  the  different  manufacturers 

*  Paper  read  at  the  regular  meeting  of  the 
French  Photographic  Society. 


The  pyrogallic  process,  on  the  contrary,  the 
given  formula  for  which  is  almost  always 
inexact  and  impracticable,  is  really  known 
by  only  a  very  small  number  of  operators. 
Its  merit,  however,  is  incontestable,  and  by 
its  use  the  time  of  exposure  offers  no  longer 
any  difficulty.  But  pyrogallic  acid,  it  is 
said,  is  more  difficult  to  use,  and  requires 
more  care  than  oxalate  of  iron  ;  the  ex- 
posure is  longer;  the  negatives  are  of  a  less 
agreeable  tone  ;  and  finally,  the  images  have 
often  in  the  shadows  a  green  fog  which 
interferes  with  the  printing.  In  order  to 
make  pyrogallic  acid  better  appreciated,  I 
think  it  useful  to  publish  the  experiments  I 
have  made,  and  which  have  led  me  to  a  very 
simple  formula,  very  easily  worked,  and 
much  superior,  in  my  opinion  at  least,  to 
oxalate  of  iron.     I  prepare  : 

1.  A  solution  of  pyrogallic  acid  of  5 
grammes  for  100  c.  c.  of  alcohol. 

2.  An  alkaline  liquid,  composed  of  10 
grammes  of  carbonate  of  soda  and  1  c.  c.  of 
ammonia,  for  1  litre  of  distilled  water. 

Pure  carbonate  of  soda  is  preferable  to 
pure  carbonate  of  potash ;  but,  if  need  be, 
the  ordinary  commercial  carbonate  of  soda 
may  be  used,  adding  a  few  more  drops  of 
ammonia.  Instead  of  distilled  water,  scarce 
in  travelling,  ordinary  water  may  be  equally 
as  well  used,  if  care  be  taken  first  to  dis- 
solve the  soda  salt  to  allow  the  carbonate 
of  lime  to  be  precipitated,  and  to  add  to 
the  clear  liquid  2  c.  c.  of  the  ammonia — 
that  is  to  say,  a  double  portion.  We  may 
also  have  concentrated  solutions  of  known 
strength,  whose  use  will  avoid  weighing  at 
each  new  operation. 

A  third  solution  may  be  useful :  1  gramme 
of  bromide  of  potassium  or  ammonium  in 
100  c.  c.  of  water. 

The  normal  development  is  made  by  the 
mixture  of  20  parts  of  the  alkaline  solutions 
for  1  part  of  the  pyrogallic  liquid — say  for 
a  plate  18  x  24  centimetres  120  parts  of  car- 
bonated water  and  6  of  the  pyrogallic  solu- 
tion. The  plate  plunged  into  the  liquid 
shows  more  or  less  quickly,  according  to 
the  intensity  of  the  light,  or  the  length  of 
the  exposure;  and,  in  regard  to  this,  I  can- 
not indicate  the  time  necessary  for  the  ap- 
pearance of  the  first  traces  of  the  image,  as 
this  evidently  depends  on  the  permeability 


390 


THE   PHILADELPHIA    PHOTOGBAPHEP. 


of  the  gelatine.  One  or  two  trials  will 
show  this  as  well  as  the  duration  of  the  ope- 
ration, which,  on  an  average,  lasts  three 
minutes,  and  would  give  no  better  result  in 
exceeding  ten  minutes. 

To  develop  a  negative  successfully  it  is 
necessary  to  know  under  what  conditions 
the  exposure  has  been  made — that  is  to  say, 
if  the  subject  was  uniform,  or  if  it  offered 
strong  oppositions  of  light,  and  also  the 
nature  of  the  negative  to  be  obtained,  trans- 
parent or  intense. 

When  the  image  appears  slowly,  indi- 
cating a  short  exposure,  it  suffices  to  allow 
the  developer  to  act  until  all  the  details  are 
obtained. 

If,  on  the  contrary,  the  image  appears 
too  quickly  owing  to  a  too  long  exposure, 
which  would  give  a  gray  print,  it  is  only 
necessary  to  add  water  to  the  liquid  in  the 
dish  ;  and  if  the  exposure  has  been  much 
too  great  to  obtain  a  suitable  strength  and 
modelling,  withdraw  the  plate  and  place  it 
in  a  dishful  of  water,  add  to  the  developer 
from  1  c.  c.  to  5  c.  c.  of  the  bromized  solu- 
tion (at  1  for  100),  then  continue  in  this 
manner  the  development. 

When  the  object  is  too  equally  lighted, 
a  condition  which  requires  relatively  a  very 
short  exposure,  I  do  not  use  the  bromide, 
but  1  increase  the  quantity  of  pyrogallic 
acid,  and  more  frequently  a  better  result  is 
obtained  than  by  adding  bromide  or  any 
other  moderator.  All  the  substances  used 
for  the  purpose  of  retarding  the  develop- 
ment partially  destroy  the  impression  made 
by  the  light,  and  cannot  be  useful  unless 
the  exposure  has  been  too  long,  unless  the 
sensitized  plate  has  received  a  weak  impres- 
sion other  than  that  of  the  subject  to  be 
reproduced,  or  the  light  was  too  strong. 

The  green  fog,  often  attributed  to  the 
alkaline  development,  is  caused  by  the  am- 
monia;  this  product,  which  is  used  in  the 
preceding  formula  to  neutralize  the  bicar- 
bonates  or  the  weak  acid  accidentally  con- 
tained in  the  developer,  is  reduced  to  a  very 
small  proportion,  insufficient  to  produce  the 
green  fog.  The  brown  color  of  the  nega- 
tive, sometimes  intense,  when  the  action  has 
been  prolonged,  instantaneously  disappears 
in  chlorhydric  acid  diluted  with  from  fifty 
to  one  hundred  times  its  volume  of  water. 


It  has  appeared  to  me,  after,  a  certain 
number  of  comparative  experiments,  that 
pyrogallic  acid,  thus  used,  allows  an  ex- 
posure as  short,  even  shorter,  than  the  ox- 
alate of  iron. 

Moreover,  it  may  be  remarked  that  this 
developer  may  be  kept  for  almost  an  indefi- 
nite time;  is  always  the  same,  and  is  easily 
used.  Is  it  possible  to  add  to  it  accelerating 
substances,  or  those  capable  of  giving  still 
better  results  ? 

I  have  experimented  with  a  great  number 
of  substances;  hyposulphite  and  hypophos- 
phite  of  soda,  morphia  and  its  salts,  chloral, 
aldehyde,  cyanide,  ferro-cyanide  and  sul- 
pho-cyanide,  the  formiates,  etc.  None  of 
these  products  increase  the  sensitiveness  and 
facilitate  the  development ;  they  are  either 
useless  or  injurious,  according  to  the  quan- 
tity used.  The  sulphite  of  soda,  when  neu- 
tral and  in  small  quantities,  produces  no 
appreciable  effect,  and  does  not  prevent  the 
appearance,  always  disastrous,  of  the  ammo- 
niacal  green  fog ;  when  citric  acid  is  added 
it  greatly  retards  the  appearance  of  the  de- 
tails, and  seems  to  efface  the  luminous  im- 
pression. As  a  preserver  of  pyrogallic  acid, 
if  necessary,  I  prefer  salicylic  acid  in  {he 
weak  proportion  of  1  gramme  to  10  grammes 
of  pyrogallic  acid. 

Such  are  the  reasons  which  induce  me  to 
use  pyrogallic  acid  rather  than  oxalate  of 
iron  ;  this  process  being  always  successful, 
even  with  a  much  too  long  exposure,  and 
giving  at  will  transparent  or  intense  nega- 
tives, is,  consequently,  much  safer  than  the 
iron,  which  rapidly  oxidizes  and  varies  from 
day  to  day  in  its  properties ;  the  sesquioxide 
salts  of  iron,  not  only  act  as  moderators,  but 
destroy  the  effect  of  light  on  sensitive  sur- 
faces. 


Waterproof  Varnish. — A  good  water- 
proof varnish  for  paper  may  be  made  by 
digesting  for  fifteen  days  one  part  gum  da- 
mar  and  six  parts  of  acetone  in  a  well-stop- 
pered bottle.  The  clear  part  is  now  decanted, 
to  which  four  parts  of  collodion  are  to  be 
added.  After  repose  it  will  become  clear. 
This  varnish  may  be  used  for  making  travel- 
ling appliances. — La  Nature. 


THE  PHILADELPHIA  PHOTOGEAPHEE. 


391 


STUDIO  STUDIES. 

(Continued  from  page  364.) 
We  hear  a  good  deal  at  conventions  and 
such  about  "  individuality  " — putting  one's 
self  in  one's  work,  etc.,  and  undoubtedly  it 


usually  successful  artist  is  dismayed.  Repu- 
tation is  gone  if  he  fails.  An  inspiration 
seizes  him  which  brings  out  his  individuality 
away  up  to  his  brains,  so  that  when  he  coax- 
ingly  cries  to  the  funereal  crowd,  "  Come, 


is  a  good  remedy,  especially  if  the  artist  be.  i  now,  look  right  friendly,"  we  see  a  remark- 
a  genial,  pleasant  man.     We  find  an  illus-      ably  expressive  group  substituted, 
tration  quite  to  the  point  in  the  Blatter.     It  I       Whatever  it  was  it  seemed  infectious. 


is  called  a"  Study  in  Physiognomy."  An  old- 
time  farmer  makes  his  appearance  with  his 
family  at  the  studio'of  the  Hof  photographer. 
It  is  apparently  a  serious  business  with  them 
all.  Each  particular  costume  has  had  much 
time  devoted  to  it,  apparently  regardless  of 
cost.  The  pose  is  arranged  after  the  true  di- 
agonal and  pyramidal  rules,  but  the  group  is 
full  of  strange  squints  and  idiotic  stares.  The 


The  Journal  of  Microscopy  and  Natural  Sci- 
ence, for  October,  has  arrived.  It  is  edited  by 
Alfred  Allen,  Esq.,  1  Cambridge  Place,  Bath, 
England.  Quarterly,  one  and  sixpence  per  num- 
ber. It  is  wondrously  full  of  information.  Its 
illustrations  are  fine,  and  it  is  well  printed.  All 
scientists  should  have  it.  Photography  is  so 
much  used  now  by  microscopists  that  our  work 
has  become  kindred  in  a  great  degree. 


392 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


COLORED  MEDIA  FOR  THE 
PHOTOGRAPHIC   DARK  ROOM* 

BY  WILLIAM  H.  PICKERING, 
Massachusetts  Institute  of  Technology,  Boston. 

Since  the  advent  of  the  gelatine  dry 
plate,  many  photographers  have  complained 
that  their  eyes  are  injured  by  the  dark  red 
light  generally  used  in  development.  Con- 
siderable discussion  of  this  subject  has  been 
aroused  of  late,  but  the  only  experiments 
made,  so  far  as  can  be  learned,  have  been 
to  determine  how  much  plates  fog  when 
exposed  at  the  same  distance  to  the  various 
media  tried.  The  experimenter  then  ex- 
amines some  object  at  that  distance,  and  if 
he  thinks  he  can  see  it  about  as  well,  and 
the  plate  is  less  fogged,  the  medium  is  pro- 
nounced an  improvement. 

In  order  to  obtain  more  satisfactory  re- 
sults the  following  problem  was  proposed : 
For  a  different  distinctness  of  vision,  what 
medium,  or  combination  of  media,  will  give 
the  least  fog  on  a  gelatine  plate?  In  order 
to  determine  at  what  distance  from  the 
lights  equal  distinctness  of  vision  was  ob- 
tained, a  negative  having  some  fine  mark- 
ings upon  it  was  held  at  such  a  distance 
from  the  various  sources  that  the  details 
were  just  distinguishable  from  one  another. 
Different  portions  of  a  sensitive  plate  were 
then  exposed  at  these  distances,  one  after 
another,  to  light  coming  through  the  differ- 
ent media,  and  the  plate  was  then  developed. 
Exposures  with  both  daylight  and  gaslight 
as  sources  were  made  on  the  same  plate, 
and,  as  was  to  be  expected,  those  made  by 
daylight  were  much  the  more  fogged.  If 
more  colored  glass  was  used,  the  daylight 
was  too  faint.  So,  for  this  reason  alone, 
gaslight  would  be  preferred.  Add  to  this, 
that,  if  the  gas-flame  be  placed  at  the  bottom 
of  a  properly  constructed  flue,  it  will  serve 
to  ventilate  as  well  as  light  the  dark  room  ; 
and  also  that  it  can  be  used  in  the  evening 
and  on  dark  afternoons  when  daylight  is 
out  of  the  question.  Moreover,  since  the 
gas-flame  is  much  more  uniform  in  bril- 
liancy, it  is  correspondingly  easier  to  deter- 
mine when  a  plate  is  properly  developed, 
and  fewer  plates  are  lost  in  this  way. 

*  Proceedings  of  Auier.  Acad,  of  Arts  and 
Sciences. 


Experiments  with  the  following  media 
have  been  made,  and  are  numbered  in  the 
second  and  third  columns  in  the  order  of 
their  desirability,  It  will  be  noticed  that 
there  are  five  media  which  with  gaslight 
give  better  results — i.  e.,  unless  fog,  than 
the  best  medium  with  daylight.  In  the 
second  series  the  third  column  gives  the 
distance  in  inches  in  each  case  at  which  the 
fine  details  were  visible  from  the  gas-flame. 
No  medium  is  wholly  satisfactory  with  day- 
light unless  it  contains  red  glass  or  paper. 
The  window  used  with  the  gaslight  meas- 
ured six  by  seven  inches,  and  was  situated 
fourteen  inches  from  the  gas-flame.  The 
window  used  with  daylight  measured  five 
by  five  inches.  Direct  light  from  the  clouds 
was  used.  The  plate  was  developed  in  the 
first  series  with' oxalate,  and  in  the  second 
with  pyro  and  soda  developer. 


First  (Series. 

Colored  Media. 

Gas. 

Sky. 

Red  and  yellow  glass 

.     1 

12 

Red  and  ground  glass 

2 

6 

Post-office  paper 

3 

14 

Red  glass    .... 

4 

8 

Yellow  glass  double     . 

.       5 

16 

Yellow  and  violet  glass 

7 

18 

Carbutt's  red  paper    . 

9 

10 

Red  glass  double 

11 

13 

Yellow  and  green  glass 

15 

17 

Second  Series. 

Colored  Media. 

Gas. 

Inches. 

Canary  paper  double 

1 

8 

Golden  fabric  double 

2 

29 

Red  glass    .... 

3 

38 

Golden  fabric  single    . 

4 

58 

Red,  yellow,  and  ground  glass 

5 

11 

Red  and  yellow  glass 

6 

22 

Canary  paper  single  . 

7 

19 

Post-office  paper 

8 

15 

Yellow  and  green  glass 

9 

41 

It  was  found  that  ground  glas 

>  transmitted 

fty-five  per  cent,  of  the  light 

from 

a  gas- 

flame  coming  through  red  glass,  while  it 
transmitted  only  about  nine  per  cent,  of  day- 
light under  similar  circumstances.  Its  effect 
is  therefore  similar  to  yellow  glass  The  fact 
that  the  yellow-violet  combination  was  so 
satisfactory  with  the  gas-flame  was  probably 
due  to  the  capacity  of  the  yellow  to  cut  off 
the  small  amount  of  violet  emitted  by  this 
source,  while  it  was  quite  inadequate  to  de- 


THE    PHILADELPHIA    PHOTOGBAPHEK. 


393 


stroy  it  in  the  case  of  daylight,  as  is  indi- 
cated by  the  figures.  The  precise  order 
here  given  is  not  insisted  on,  but  only  the 
general  sequence,  as  in  the  case  of  most  of 
the  media  there  was  very  little  difference  in 
their  desirability,  and  sometimes  the  position 
of  two  media  on  the  line  would  be  reversed 
by  a  negative.  One  fact  was  brought  out, 
however,  with  great  distinctness  in  al!  the 
series,  and  that  was  the  great  inferiority  of 
the  yellow-green  combination.  This  was, 
of  course,  to  be  expected  ;  but,  as  many 
photographers  still  use  this  medium  in  their 
dark  rooms,  it  was  considered  desirable  to 
include  it  in  the  list,  merely  to  show  its  in- 
feriority. Although  in  the  second  series 
canary  paper  double  seemed  to  give  the 
least  fog  of  any  of  the  media,  the  light 
transmitted  by  it  proved  to  be  so  faint  that 
it  was  quite  inadequate  for  satisfactory  illu- 
mination of  the  dark  room  ;  and,  owing  to 
its  opacity,  some  doubt  was  cast  on  the  accu- 
racy of  the  observation.  The  second  me- 
dium on  the  list  has  therefore  been  selected 
as  the  best  practical  one  to  employ  with 
gaslight  illuminations.  Its  color  is  very 
pleasant  to  the  eyes,  and  being  translucent, 
instead  of  transparent,  it  lights  the  whole 
room  in  a  very  satisfactory  manner.  It  is 
advisable  to  place  it  behind  a  sheet  of  glass, 
in  order  to  protect  it  from  being  soiled  by 
the  chemicals  employed.  If  one  is  obliged 
to  use  daylight  as  a  source  of  light,  it  is 
probable  that  a  sheet  of  red  glass  in  con- 
nection with  one  or  two  thicknesses  of 
golden  fabric  would  form  as  satisfactory  a 
combination  as  any. 

Experiments  were  next  made  to  deter- 
mine how  bright  a  light  is  permissible  with 
the  medium  adopted.  The  fish-tail  burner 
which  was  used  on  the  gas-lamp  was  placed 
fourteen  inches  behind  a  double  sheet  of 
golden  fabric,  measuring  twenty-four  by 
sixteen  inches.  An  extremely  sensitive 
gelatine  plate  was  placed  at  a  distance  of 
twelve  inches  in  front  of  the  medium,  and  a 
portion  of  it  exposed  for  one  minute.  It 
was  found,  that  if  the  gas-flame  measured 
only  one  inch  in  height,  not  the  least  trace 
of  fog  was  produced  by  the  exposure.  This 
is  too  faint  a  light  for  satisfactory  use,  how- 
ever, and  as  a  very  minute  amount  of  fog  does 
not  injure  a  negative  perceptibly,  and  the 


direct  exposure  to  the  light  in  normal  prac- 
tice is  much  less  than  a  minute,  the  flame 
is  turned  up  to  a  height  of  an  inch  and  a 
half  or  two  inches  for  ordinary  development. 
By  this  light  one  can  readily  see  to  read 
the  finest  type,  and  the  light  pervading  the 
whole  room  is  very  satisfactory.  After  a 
short  exposure  to  it,  in  fact,  it  seems  almost 
like  white  light. 

In  this  connection  may  be  mentioned  a 
device  which  has  proved  very  useful  as  an 
auxiliary  in  enabling  one  to  judge  of  the 
proper  development  of  a  negative.  A 
square  hole  measuring  an  inch  and  a  half 
on  a  side  is  cut  in  the  upper  portion  of  the 
golden  fabric,  and  a  piece  of  red  glass  in- 
serted between  the  two  thicknesses.  If  a 
negative  be  now  held  near  this  hole,  a  red 
square  of  light  will  be  cast  upon  it.  This 
square  can  be  seen  even  when  the  lights  of 
the  negative  are  quite  intense,  and  by  noting 
its  distinctness,  one  can  judge  of  the  opacity 
of  the  high  lights  as  accurately  as  he  can  of 
the  details  of  the  shadows  of  the  picture. 
If  the  high  lights  reach  their  proper  inten- 
sity first,  he  develops  for  the  shadows,  and 
vice  versa. 

As  the  whole  question  of  the  proper  me- 
dium to  use  resolves  itself  merely  into  what 
part  of  the  spectrum  to  employ,  red,  orange, 
or  orange-yellow,  and  all  three  of  these 
yield  nearly  equally  good  results,  it  is  evi- 
dent that  no  important  improvement  can  be 
made  in  the  future.  But  as  the  orange- 
yellow  is  much  the  more  pleasant  light  of 
the  three,  and  seems  to  give  rather  less  fog 
than  either  of  the  others,  it  is  the  color  to 
be  recommended.  Any  medium  which  will 
transmit  this  color  will  be  found  satisfactory, 
but  golden  fabric  is  perhaps  as  convenient 
as  any. 

A  very  portable  form  of  lantern  to  be  used 
when  travelling  consists  of  a  strip  of  golden 
fabric  a  foot  wide  by  two  and  a  half  in 
length.  When  one  wishes  to  use  it,  it  is 
rolled  into  a  cylinder  a  foot  long,  and  five 
inches  in  diameter,  and  pinned.  A  kero- 
sene lamp  with  the  wick  turned  down  low, 
or  a  candle  is  then  placed  inside,  and  the 
lantern  is  complete.  The  circle  of  white  light 
formed  on  the  ceiling  is  not  bright  enough 
to  do  any  harm.  The  lantern  is  set  several 
feet  away  from  the  exposed  plates,  and  they 


27 


394 


THE    PHILADELPHIA    PHOTOGBAPHEB. 


should  in  general  be  protected  as  much  as 
possible  from  direct  illumination.  There  is 
then  plenty  of  light,  and  yet  not  the  slight- 
est danger  of  fog. 


GERMAN   CORRESPONDENCE. 

Accelerator  for  Development  —  Removing 
Varnish  from  Plates  —  Development  in 
Two  Solutions — Best  Lenses  for  Land- 
scapes. 

For  some  time  past  the  preliminary  bath 
(Vorbad)  has  been  playing  a  rather  prac- 
tically important  part  in  photography.  In 
development  it  has  come  into  service.  It  is 
well  known  that  underexposed  plates  give 
very  strong  contrasts  in  light  and  shade, 
the  high  lights  becoming  very  intense 
before  the  shadows  show  any  detail,  the 
more  delicate  parts  being  lost.  These  de- 
fects may  be  avoided  by  immersing  the 
plate,  before  development,  in  a  bath  of  1 
part  hypo  to  5000  parts  water,  then  using 
the  ferrous  oxalate  as  a  developer.  The 
image  quickly  appears,  the  high  lights  are 
not  so  intense  and  the  time  of  development 
is  reduced  one-third.  The  same  effect  is  not 
had  with  the  pyro  developer.  Kecently 
besides  hypo  other  bodies  have  been  used 
which  accomplish  the  same  result.  To 
these  belong,  in  especial,  Lohse's  prelimi- 
nary bath,  recommended  by  Dr.  Messer- 
schmidt,  consisting  of  a  solution  of  nitrate 
of  chrysaniline  1 :  20,000.  According  to  the 
experiments,  this  bath  worked  very  energeti- 
cally, even  more  so  than  the  hypo,  without 
the  disadvantage  which  the  latter  sometimes 
occasions,  the  formation  of  a  fog.  Mr. 
Quidde  has  also  used  the  chrysaniline  with 
excellent  results.  He  is  also  convinced  that 
the  action  is  more  energetic  than  the  hypo. 
He  employed,  at  first,  a  solution  of  1  part 
in  3000  of  water,  later  making  the  dilution 
1 :  20,000,  but  no  apparent  difference  in  the 
action  of  the  two  baths  could  be  perceived. 
One  thing  was  sure,  there  was  no  appearance 
of  any  fog,  but  he  did  observe  in  all  his  ex- 
periments numerous  small  specks  on  the 
plate ;  on  examination  he  found  that  the 
chrysaniline  had  not  been  thoroughly  dis- 
solved, hence  the  small,  undissolved  particles 
were  the  cause  of  the  specks  on  the  plate. 
Afterward  filtering  the  solution,  the  specks 


entirely  disappeared.  Grounding  my  opinion 
on  my  own  discoveries,  I  doubted  whether 
the  hypo  as  a  preliminary  bath,  or  chrys- 
aniline as  a  sensitizer,  in  the  proper  sense  of 
the  word,  really  increased  the  sensitiveness. 
This  is  generally  taken  for  granted  and  upon 
the  ground  of  experiment,  but  the  fact  is, 
when  two  plates  of  the  same  exposure  are 
taken,  and  the  one  dipped  in  the  hypo  bath 
1  :  5000,  and  the  other  in  the  chrysaniline, 
and  both  developed  in  the  ferrous  oxalate 
developer,  the  plate  subjected  to  the  prelimi- 
nary baptism  comes  up  more  rapidly ;  but 
let  both  plates  lie  the  same  time  in  the  de- 
veloper and  it  will  be  seen  that  one  has 
greater  rapidity  than  the  other,  and,  hence, 
the  conclusion  is  jumped  at  that  one  has  a 
greater  increased  sensitiveness  than  the 
other;  but  this  is  not  so,  for  if  the  plate 
which  has  not  been  immersed  be  allowed 
to  remain  in  the  developer  it  will  be  found 
that  gradually  more  details  come  forth,  and 
in  the  end  it  has  the  appearance  of  as  much 
exposure  as  the  other.  The  only  advantage 
in  the  use  of  the  preliminary  bath  is  the 
decrease  of  time  required  in  development, 
and  the  increase  of  harmony  obtained  there- 
by, the  over-intensifying  of  the  high  lights 
being  prevented  by  the  previous  dipping. 
One  of  our  best  dry-plate  makers,  Herr 
Gaedicke,  confirms  this  on  the  ground  of  his 
experiments  with  the  sensitometer.  Two 
plates  of  the  same  kind  were  exposed  under 
the  same  conditions  of  light  and  time;  the 
one  developed  without  the  Vorbad,  the  other 
after  being  treated  to  an  immersion  in  hypo  ; 
both  gave  exactly  the  same  number  on  the 
sensitometer. 

Lately,  among  other  things,  I  had  an 
opportunity  to  discover  how  easy  it  is  to 
remove  the  varnish  from  gelatine  plates. 
Some  gelatine  plates  which  had  been  var- 
nished, on  printing  showed  themselves  to  be 
too  thin.  In  order  to  strengthen  them  the 
following  method  proved  so  excellent  that  we 
would  like  to  recommend  it.  The  varnished 
negative  was  laid  in  90°  alcohol  in  which 
one  per  cent,  of  acetate  of  potash  was  dis- 
solved ;  in  five  minutes  the  varnish  was  so 
softened  that  it  could  be  rubbed  off  with 
the  finger  without  any  injury  to  the  gelatine 
film.  Even  the  retouching  could  be  rubbed 
off  with  the  finger.     Afterwards  the  plates 


THE    PHILADELPHIA    PHOTOGRAPHER. 


395 


were  laid  for  two  minutes  in  pure  spirits 
and  thoroughly  washed  under  a  tap,  then 
strengthened  in  a  solution  of  bichloride  of 
mercury,  1:100;  here  they  strengthened 
gradually  and  uniformly,  and  after  drying 
were  revarnished. 

Just  now  the  process  of  developing  by 
the  use  of  two  different  solutions  is  all  the 
rage.  For  the  oxalate  development  Lie- 
sec;ang  recommends  the  following  procedure: 
The  plate  after  having  been  exposed  is  laid 
first  of  all  in  a  dish  of  water  for  a  minute 
and  a  half,  and  then  two  minutes  in  a  con- 
centrated solution  of  sulphate  of  iron,  next 
it  is  transferred  to  a  concentrated  solution 
of  oxalate  of  potassa.  The  image  appears 
very  rapidly,  is  clear  in  the  shadows,  and 
gradually  acquires  intensity.  Overexposed 
plates  develop  very  clear  in  this  manner 
when  the  solution  is  diluted.  Three  plates 
were  exposed  under  the  same  negative  by 
gaslight  for  one,  five,  and  fifteen  seconds. 
The  exposure  of  one  second  showed  that  to 
be  the  proper  time ;  that  of  five  seconds  was 
veiled  all  over  with  fog.  Now  the  solution 
of  iron  and  the  solution  of  oxalate  were  both 
diluted  with  ten  parts  of  water,  the  fifteen 
second  plate  was  then  first  laid  in  water  for 
one  minute  and  a  half,  then  two  minutes  in 
the  iron, and  finally  transferred  to  the  oxalate 
and  left  there  over  night.  Next  morning 
a  beautiful,  clear,  positive  transparency  was 
found  on  the  dish.  When  the  overexposure 
is  great  it  may  be  advisable  to  employ 
bromide  of  potassium.  In  this  way  much 
developing  material  can  be  saved,  an  item  of 
much  importance  in  travelling;  one-tenth 
of  a  litre  going  as  far  as  a  whole  litre. 

I  have  often  been  asked  what  objective 
do  you  recommend  for  landscape  photog- 
raphy. The  size,  of  course,  depends  upon 
the  size  of  the  plate.  I  myself  make  use  of 
a  five-eighth  size  on  my  journeys,  which  is 
convenient  to  carry.  Now  what  is  the  best 
lens  for  this  size?  you  will  say.  I  used  to 
carry  a  regular  stock  of  lenses  with  me,  but 
experience  has  confirmed  my  opinion  that 
the  high  sensitiveness  of  dry  plates  necessi- 
tates the  use  of  only  two  objectives.  Some- 
times for  special  purposes,  group  portraits, 
or  for  dark  places,  I  provide  myself  with 
a  third  lens  of  longer  focus  and  greater 
rapidity.     My  photographic  outfit  for  plate 


13  x  21  cm.  usually  includes  three  different 
lenses.  1st,  a  wide-angle  (I  recommend 
Steinheil's  wide-angle  7  mm.  opening,  focal 
length  12.  Price,  60  marks)  or  a  Bush 
pantascope,  No.  3,  both  afford  a  range  of 
87°  and  cover  finely  the  size  plate  named 
above.  2d.  An  aplanatic  of  about  25  mm. 
aperture,  19  cm.  focus,  and  angle  of  60°. 
For  the  size  plates  mentioned  I  recommend 
Steinheil's  Aplanatic  No.  3,  24  mm.  aper- 
ture, 189  mm.  focus ;  or  Bush's  of  similar 
construction,  200  mm.  focus,  28  mm.  aper- 
ture, or  a  Suter  instrument  of  24  mm.  aper- 
ture. The  Steinheil  costs  75  marks,  the 
Bush  68  marks;  the  latter  gives  the  objects 
larger,  the  first  has  the  larger  field,  which  is 
generally  an  advantage.  With  this  objective 
I  have  made  most  of  my  instantaneous 
views.  Only  for  special  cases  have  I  made 
use  of  a  more  rapid  lens  of  greater  focal 
length.  Voigtlander  Euryscope,  39  mm. 
aperture,  243  mm.  focus,  or  an  aplanatic 
Steinheil  No.  4,  43  mm.  aperture,  240  mm. 
focus  ;  both  are  excellent  for  anthropological 
subjects  where  special  parts,  as  the  head  of 
the  subject,  are  desired  in  larger  dimensions. 
I  do  not  think  it  advisable  to  use  on  journeys 
objectives  of  longer  focus,  because  they  ne- 
cessitate a  longer  draw  on  the  camera 
bellows,  which  is  not  convenient  for  pack- 
ing. Many  objects  which  appear  too  small 
in  the  picture  may  be  enlarged  from  the 
small  negative  with  advantage.  I  have 
Egyptian  hieroglyphics  enlarged  fourfold. 
Of  course,  it  is  understood  that  other  instru- 
ments than  those  here  named  may  be  em- 
ployed with  advantage. 

Very  truly  yours, 

Dr  H.  W.  Vogel. 

Berlin,  November  15,  1885. 


THOSE   "THUMB"  MARKS. 

BY    THOMAS    PRAY,  JR. 

Among  other  good  things  in  the  Novem- 
ber Photographer  the  "  Thumbs  Down  " 
has  been  noticed.  It  is  not  at  all  a  new 
matter  in  this  part  of  the  country,  and 
while  I  have  no  wish  to  detract  from  Mr. 
Taber's  work  in  San  Eransisco,  I  do  wish  to 
call  attention  to  some  of  the  points  to  which 
vou  refer  in  the  Photographer. 


396 


THE    PHILADELPHIA    PHOTOGRAPHER. 


Some  few  years  ago  it  was  my  privilege 
to  be  one  of  three  persons  who  interested 
one  of  the  clubs  of  Boston  with  a  lantern 
exhibition  of  new  discoveries,  or  new  scien- 
tific investigations.  My  own  part  was  of  my 
microscopic  work,  while  Prof.  H.  P.  Bow- 
ditch,  of  Harvard  College  Medical  School, 
showed  quite  a  collection  of  "  Thumb 
Marks  "  from  subjects  one  year  old  up  to 
adult  thumb  marks,  and  one  of  his  points 
was  that  radical  changes  do  occur  as  the 
child  grows  older,  and  that  cuts  or  burns 
upon  the  thumbs  make  radical  changes  in 
the  appearance  of  the  lines.  Prof.  Bowditch 
had  then  been  several  years  at  the  study  of 
the  subject,  and  made  some  very  forcible 
remarks  which  I  wish  could  be  properly  and 
correctly  given. 

His  slides  were  made  by  printing  ink 
pressed  upon  mica  and  there  was  no  photog- 
raphy about  it  then — what  he  has  since  done 
is  not  known  to  me,  as  my  removal  from 
Boston  to  New  York  has  prevented  our 
meeting  very  frequently. 

The  toes  and  heels  are  much  more  reliable 
so  far  as  recognition  or  identification  goes 
than  the  thumbs,  for  the  reasons  that  a 
severe  burn,  scald,  cut,  or  bruise  which 
breaks  through  the  skin,  will  introduce  into 
the  "  mark  "  a  new  and  changed  element 
and  more  especially  if  a  scar  be  added. 

Chemicals  act  upon  the  skin,  and  a  man 
who  is  handling  almost  any  chemicals  in 
photography,  bleeching,  dyeing,  tanning,  or 
in  color-work,  'will  make  a  very  different 
mark  one  week  as  compared  with  any  other, 
if  he  changes  his  occupation  somewhat,  as 
in  case  of  handling  dilute  sulphuric  acid  one 
week  and  soda  or  potash  the  next. 

In  polishing  or  rubbing  down  the  varnish 
finish  of  clock  cases  and  other  such  work 
where  the  hand  is  used,  most  material 
changes  occur,  as  at  one  time  the  lines  will 
appear  fine  and  distinct,  and  again  rough, 
broken,  coarse,  etc.  Other  changes  do,  and 
will  take  place  which  need  not  be  particu- 
larized. 

The  subject  is  not  by  any  means  so  well 
understood  as  it  should  be,  and  more  light 
might  be  thrown  upon  it  with  decided  ad- 
vantage to  all,  and  let  us  hope  the  "broach- 
ing "  which  it  receives  will  be  followed  up 
with  most  decided  advantage.     In  children 


the  changes  which  do  occur  will  be  all  the 
more  interesting  if  they  are  watched,  noted, 
and  illustrated  ;  and  if  some  of  the  readers 
of  the  Photographer  have  been  in  the  ex- 
perimental line  let  us  hope  they  may  be 
heard  from. 

If  the  thumbs  of  any  person  were  not 
almost  constantly  in  contact  with  rough 
surfaces,  or  some  liquid  containing  chemi- 
cals, then  there  is  very  little  doubt  that  the 
changes  which  occur  would  make  a  record 
far  more  reliable  than  taking  the  thumbs  of 
people  who  are  in  daily  pursuit  of  their 
regular  employment. 

Printing  ink  rolled  upon  a  flat  surface 
makes  an  excellent  medium  to  use  for  the 
transfer  to  any  other  flat  surface  ;  and  a 
white  card  or  any  transparent  medium  as 
sheet  gelatine,  mica,  or  perhaps  glass,  and  I 
have  several  times  noticed  at  a  lantern  ex- 
hibition various  "  marks  "  of  "  some  feller's  ' 
thumbs  upon  the  gelatine  slides  used  to 
show  not  only  the  view  on  the  slide  but  some 
one's  gross  lack  of  care — and  in  many  of 
the  Amateur  Society's  "shows"  "thumb 
marks  "  have  almost  unconsciously  entered 
— but  they  were  very  plainly  visible  on  the 
screen. 

If  Mr.  Taber  will  use  a  rubber  cot  on  his 
thumb  for  a  month  and  make  an  impres- 
sion, then  discard  the  cot  for  a  month  and 
dip  in  pyro,  hypo,  and  the  iron  cyanide  and 
all  the  rest,  as  frequently  as  a  worker  has 
need  to  do,  and  scrub  the  nitrate  stains  off 
his  "  thumbs  "  with  stone  a  few  days  of  the 
month,  he  will  be  a  disgusted  man  when  he 
gets  his  second  impression, — and  has  com- 
pared it — more  especially  if  he  makes  both 
impressions  on  a  clean,  clear  sheet  of  mica, 
and  uses  red  or  blue  ink,  as  the  colored  inks 
usually  are  finer  than  blacks.  If  he  wishes 
to  carry  it  further,  and  he  is  the  lucky 
possessor  of  a  family  organ,  with  2000  reeds, 
no  stops,  etc.,  one  that  can  crow  or  howl, 
let  him  make  an  impression  every  three 
months  from  the  heel,  every  toe,  and  every 
finger  and  thumb,  and  compare  them  care- 
fully ;  at  the  end  of  a  year  he  will  dis- 
cover some  sound  reasons  why  banks  would 
soon  decline  to  go  into  the  "  cashing  checks" 
upon  "  thumb  marks  "  instead  of  the  ortho- 
dox "sig.,"  or  else  he  will  have,  made  the 
not  perhaps  very  striking  discovery  that  my 


THE    PHILADELPHIA    PHOTOGrfJAPHEE. 


397 


own  observations  are  of  no  great  value  ,  and 
perhaps  the  thumb  or  heel  and  toe  albums 
will  soon  be  in  the  market.  But  no  doubt 
the  signing  of  railroad  passes  by  the 
hardheaded  railroad  presidents  by  their 
"  thumbs  "  will  not  be  adopted.  As  to 
marriage  certificates,  it  may  do  ;  but  how 
will  the  Judge  fix  it  when  he  cuts  the 
"knot?"  "not,"  perhaps,  with  his  thumb; 
and,  of  course,  he  would  not  sign  with  his 
heel.  Thumb  marks  might  do  for  lawyers 
and  ministers,  but  if  a  druggist  should  have 
to  stop  to  look  up  whose  thumb  was  on  the 
"R,"  meanwhile  the  patient  would  get 
well.  Imagine  the  messenger  boys  gather- 
ing on  the  corner  and  comparing  the  "  thumb 
marks  "  on  their  books  ;  business  would  be 
retarded,  if  not  brought  to  a  standstill.  Per- 
haps I  may  send  you  some  negatives  of 
"thumb  marks"  later  on,  if  the  subject 
proves  worthy  the  space. 


A 


CONVENIENT   ARRANGE- 
MENT* 


BY    P.  B.  ZAY. 


In  the  arrangement  of  large  plates  in  the 
dark  room  it  will  be  found  convenient  to 
have  the  light  so  arranged  that  a  negative 
may  be  examined  by  transmitted  light  while 
developing,  without  handling  it  or  the  de- 
veloping dish. 

For  this  purpose  the  light  must  he  one- 
half  above,  and  one-half  below  a  skeleton 
shelf,  and  the  developing  dish  must  have  a 
glass  bottom.  Let  the  light  be,  say  twenty 
inches  square  above,  and  twenty  inches 
square  below  the  shelf.  Now  make  two 
curtains  of  heavy  paper  twenty  inches 
square,  and  supply  them  with  sticks  at  the 
top  and  bottom.  Hang  the  one  above  the 
light  by  means  of  a  cord  pulley  and  balance 
weight,  and  suspend  the  other  from  the 
bottom  of  the  upper  curtain  so  that  there  is 
a  space  of  twenty  inches  between  them. 
When  you  raise  them,  the  light  will  be 
clear  above  the  shelf,  and  when  you  lower 
them  the  light  will  be  open  below  and  closed 
above,  and  you  can  examine  your  negative 
at  leisure. 

*  Written  for  Mosaics,  but  received  too  late. 


EXHIBITION  OF  THE  SOCIETY  OF 
AMATEUR  PHOTOGRAPHERS. 

BY   CHARLOTTE    ADAMS, 
New  York. 

An  exhibition  held  at  New  York  during 
several  days  in  the  month  of  November, 
may  be  regarded  as  marking  the  dawn  of  a 
new  era  in  American  photography.  The 
growth  of  the  art  principle  in  photography 
has  increased  with  every  year  since  art  began 
to  play  an  active  part  in  our  national  de- 
velopment a  decade  ago.  Here  and  there, 
a  photographer  has  distinguished  himself  by 
his  judicious  application  of  art  theories  to 
his  professional  practice.  At  the  same  time, 
the  proper  public  recognition  of  the  vital 
importance  of  the  art  element  in  photog- 
raphy, has  not,  until  now,  been  given  due 
place  in  the  artistic  scheme  of  the  country. 
Every  other  form  of  American  ait  has  been 
placed  more  or  less  prominently  before  the 
public  at  that  great  centre  of  results,  New 
York,  by  means  of  exhibitions,  either  peri- 
odical or  occasional.  Photographic  exhibi- 
tions have  been  held  here,  but  they  have  not 
been  exhibitions  which  had  the  development 
of  the  art  principle  for  their  motive  power, 
The  honor  of  concentrating  the  diffused 
photographic  art  feeling  of  the  country  in  a 
brilliant  focus,  was  reserved  for  the  Society 
of  Amateur  Photographers  of  New  York, 
whose  first  annual  exhibition  closed  on 
November  18th.  It  presented  a  collection 
of  plates  admirable  both  technically  and 
artistically.  The  significance  of  this  exhi- 
bition in  its  bearing  upon  artistic  photog- 
raphy, cannot  be  too  highly  estimated. 

The  Society  of  Amateur  Photographers 
was  organized  March  28,  1884,  and  incor- 
porated June  9,  1885.  The  officers  of  the 
Society  are:  Mr.  P.O.  Beach,  President ; 
Dr.  John  H.  Janeway,  U.  S.  A.,  Vice- 
President;  Mr.  Joseph  S.  Kich,  Treasurer; 
Mr.  Charles  W.  Canfield,  Corresponding 
Secretary,  and  Mr.  C.  W.  Dean,  Eecording 
Secretary. 

The  Society  meets  twice  a  month  in  a 
room  at  the  Sloane  Building,  corner  of 
Thirty-second  Street  and  Broadway.  The 
exhibition  was  held  in  a  large  apartment  on 
the  floor  below  the  Society's  permanent 
home.      The    collection    was  divided   into 


398 


THE    PHILADELPHIA    PHOTOGRAPHER. 


twenty-three  classes  and  a  diploma  was 
awarded  for  the  best  work  in  each  class. 
The  awards  were  as  follows :  Landscape 
without  figures,  Mr.  Frederick  A.  Jackson  ; 
landscape  with  figures,  Mr.  H.  G.  Runkle ; 
marine  (surf),  Mr.  J.  H.  Maghee  ;  marine 
(sails),  Mr.  John  E.  Dumont;  architectural 
subjects,  Mr.  Ealph  McNeill ;  interiors, 
Mr.  H.  G.  Runkle  ;  portrait,  not  taken 
under  a  skylight,  Mr.  Edward  M.  Frank- 
lin ;  group,  not  taken  under  a  skylight,  Mr. 
John  E.  Dumont ;  cloud  effect,  Mr.  Randall 
Spanieling;  flowers,  Mr.  Charles  W.  Can- 
field ;  animals  (cattle)  Mr.  Francis  Blake; 
still  life,  Mr.  Gilbert  A.  Robinson;  street 
views,  Mr.  Ralph  McNeil  ;  compositions, 
"  Expectation  "  and  "  Halt,"  Mr.  W.  H. 
Bartholomew,  and  Mr.  Jackson  ;  rustic 
bridge,  Dr.  P.  H.  Mason  ;  enlargement, 
stereoscopic,  and  transparencies,  Mr.  L.  P. 
Atkinson ;  lantern  slides,  Mr.  James  E. 
Brush  ;  photomicrographs,  Mr.  L.  P.  Atkin- 
son ;  platinotypes,  Mr.  J.  H.  Maghee  ;  entire 
collection,  Mr.  John  E.  Dumont. 

The  judges  were  Mr.  G.  W.  Pach,  a  pho- 
tographer, and  Mr.  J.  0.  Davidson,  an  artist. 
The  good  judgment,  fairness,  and  even 
balance  of  elements,  which  distinguishes 
this  young  society  were  well  illustrated  by 
this  choice.-  The  technical  side  of  photog- 
raphy was  represented  by  Mr.  Pach.  and 
the  artistic  by  Mr.  Davidson. 

It  is  something  to  be  able  to  say  of  so 
large  a  collection  that  there  was  not  a  really 
poor  plate  in  it.  Some  of  the  photographs 
were  genuine  works  of  art.  There  were 
others  from  which  professional  artists  might 
have  learned  lessons  in  composition  and  pic- 
torial effect.  In  technique,  the  exhibition 
was  above  the  average  of  the  professional 
standard. 

The  most  striking  example  of  artistic 
composition  was  Mr.  John  E.  Dumont's 
"  Listening  to  the  Birds  "  which  showed  a 
number  of  children  grouped  among  bushes 
and  trees.  The  arrangement  of  lines  and 
masses  was  very  good,  the  figures  were 
naturally  and  harmoniously  posed  and  the 
facial  expressions  were  well  conceived  and 
rendered.  There  was  better  composition  in 
this  plate  than  one  frequently  finds  in  am- 
bitious oil  pictures.  Mr.  Dumont's  large 
composition     "Selling     Baskets"     showed 


equal  aptitude  for  pictorial  composition  and 
a  curious  kind  of  tact  in  adapting  sugges- 
tions derived  from  pictures  in  handling  sub- 
jects photograph icall}7.  "  Selling  Baskets  " 
is  quite  different  in  subject  from  anything 
Millais  ever  painted,  but  it  is  markedly 
reminiscent  of  his  style.  Mr.  Dumont's 
landscape  plates  were  of  a  superior  order. 
Mr.  R.  A.  C.  Smith's  exhibit  consisted 
principally  of  a  number  of  plates  of  Cuban 
subjects,  in  which  the  sunlight  effects  were 
very  noticeable  for  truth  in  the  reproduction 
of  the  glare  peculiar  to  the  tropics.  He  also 
showed  several  plates  of  animals,  among 
them  one  of  poodle  dogs  which  was  cleverly 
executed.  His  study  of  two  white  horses' 
heads  resting  on  a  dark  fence-bar  was  a  very 
artistic  bit ;  it  offered  a  good  example  of 
photographic  impressionism.  The  delicate 
modelling  of  the  horses'  heads,  the  strong 
contrast  of  light  and  shade,  and  the  softness 
of  tone  in  this  plate  made  it  unusually 
valuable.  Mr.  J.  H.  Maghee's  fine  head  of  a 
horse  and  his  groups  of  dogs,  cats,  pigs,  and 
fox  hounds,  showed  excellent  technique  and 
appreciation  of  the  artistic  as  well  as  the 
photographic  possibilities  of  the  subjects. 
The  same  may  be  said  of  his  studies  of  a 
female  model,  which  excelled  any  shown  of 
the  same  class.  A  good  example  of  the 
platinotype  class  was  "  Early  Spring  on  the 
Bronx  River."  Mr.  Philip  Meeher's  bits  of 
landscape  and  masses  of  leafage  contained 
some  remarkable  qualities.  In.  a  plate  which 
showed  a  heavy  climbing  growth  of  wood- 
bine, the  relief  of  the  leaves  and  the  strong, 
yet  soft  play  of  light  among  them,  produced 
a  charming  impression  of  open-air  effect. 

The  exhibit  made  by  Mr.  and  Mrs. 
Robert  W.  de  Forest,  was  of  much  interest. 
It  included  Moorish,  Egyptian,  and  Greek 
subjects.  A  Moorish  archway,  with  the 
sun's  light  streaming  through  it,  shows 
good  composition  of  masses  of  lights  and 
darks.  A  fine  Egyptian  plate  had  massive 
ruins  in  the  background,  and  a  group  in  the 
foreground,  in  which  dark  figures  of  Egyp- 
tians were  well  posed  in  themselves,  and  rela- 
tively to  the  accessions.  The  plate  was  full  of 
diffused  sunlight,  intensified  by  the  presence 
of  the  ruins,  and  the  back  figures  formed 
strong  accents  in  the  foreground.  The  tech- 
nique of  this  plate  is  excellent.     The  olive 


THE    PHILADELPHIA    PHOTOGKAPHEE. 


399 


trees  from  the  groves  on  Mount  Hymettus, 
are  photographed  with  accuracy,  and  even 
with  appreciation  of  the  classic  sentiment 
that  belongs  to  them.  The  power  of  expres- 
sion, and  the  nice  graduations  of  feeling,  of 
which  the  photographic  camera  is  capable 
under  favorable  conditions,  have  never  been 
better  illustrated  than  by  certain  of  the  plates 
in  this  collection.  Some  of  the  best  plates 
have  landscape  subjects  for  their  motives. 
The  landscapes  and  coast  views  by  Mr  E.  M. 
Franklin,  showed  versatility  and  cleverness, 
in  applying  painters'  methods  to  photog- 
raphy. The  landscapes  by  Mr.  P.  H. 
Mason,  were  broadly  treated,  good  in  im- 
pression, and  well  worked  out  in  detail. 
Peculiarly  artistic  in  treatment  and  effect, 
were  the  landscape  plates  by  Mr.  H.  N. 
Tiemans.  A  decorative  use  was  made  of 
the  delicate,  leafless  boughs  and  stems,  which 
form  a  network  against  the  sky,  or  occupy 
the  foreground  of  the  plate.  The  clear  cut 
workmanship  of  the  detail,  is  technically 
and  artistically  beautiful.  Mr.  Hyde's  land- 
scape, showing  a  brook  with  trees,  was  pic- 
torial composition,  good  in  rendering  of 
foliage,  and  strong  in  effect  of  reflected 
light.  A  good  piece  of  sunlight  photo- 
graphy had  for  its  subject,  a  shanty  of  the 
kind  peculiar  to  the  upper  part  of  New 
York.  It  was  pitched  in  a  light  key,  and 
was  judiciously  accented  with  half  tones  of 
shadow.  Mr.  William  Chamberlain  sent  a 
series  of  photographs  taken  on  the  deck  of  an 
ocean  steamer,  in  which  the  striking  masses 
of  form  were  kept  well  subordinated  to  the 
idea  of  composition.  These  plates  had  quite 
a  modern  artistic  feeling  in  their  treatment. 
They  were  sharp  and  clear  cut,  and  the 
lights  and  darks  were  cleanly  contrasted. 
The  human  groups  were  well  handled.  A 
number  of  marine  subjects  of  good  quality, 
were  found  in  this  collection. 

Mr.  Charles  W.  Canfield's  flower  subjects 
were  quite  a  revelation.  There  is  no  reason 
why  photography  should  not  be  applied  to 
flower  subjects  with  advantageous  results, 
but,  hitherto,  nothing  very  good  in  this  line 
has  been  brought  to  the  notice  of  that  por- 
tion of  the  public  which  is  interested  in  the 
higher  kind  of  photography.  Mr.  Canfield 
showed  three  plates,  chrysanthemums,  roses, 
and  orchids.     In  the  first  a  strong,   well- 


balanced  effect  of  light  and  shade,  was  pro- 
duced by  the  opposition  of  large  masses  of 
whites  and  blacks,  carefully  graded  in  tone. 
In  the  roses,  which  were  small  and  pale 
ones,  with  many  leaves,  fastened  in  a  grace- 
ful flat  bunch  against  a  flat  board,  a  charm- 
ing and  artistic  effect  of  composition  was 
presented,  and  the  execution  was  skilful. 
The  group  of  orchids,  which  formed  the  sub- 
ject of  the  third  plate,  was  not  as  artistic  in 
efl'ect,  but  the  character  of  the  orchid  afforded 
the  photographer  an  opportunity  for  doing 
some  brilliant  work.  The  little  spots,  veins, 
filaments,  and  short  curves  of  the  flower, 
were  presented  in  a  crisp  and  delicate  man- 
ner, and  the  small  masses  of  light  and  dark 
were  kept  beautifully  distinct.  The  photo- 
graph was  full  of  color.  This  plate  might 
have  been  regarded  as  an  example  of  modern 
pre-Raphaelite  photograph}'.  There  is  a 
fine  field  for  some  photographer  to  work  in 
decorative  flower  subjects,  which  might  be 
made  to  have  a  commercial,  as  well  as  an 
artistic  value,  and  to  supplant  the  mon- 
strosities of  colored  lithographs,  which  even 
the  best  publishing  houses  send  out  in  port- 
folios and  holiday  books,  accompanied  by 
appropriate  verses.  Mr.  Canfield  also  ex- 
hibted  some  Japanese  still-life  subjects, 
which  were  well  composed,  and  good  in 
arrangement  of  light  and  shade,  besides 
rendering  in  a  clever  manner  the  grotesque 
spirit  of  the  originals.  Mr.  Eandall  Spauld- 
ing  has  a  flower  subject,  which,  while  not 
as  artistic  as  Mr.  Canfield's,  showed  sharp, 
clear,  decisive  forms,  and  judicious  distribu- 
tion of  masses  of  light  and  shade.  Mr.  G-.  A. 
Robertson  made  an  interesting  exhibit  of 
plates  dealing  with  the  house  at  Mount 
McGregor  in  which  General  Grant  died. 
The  chairs  in  which  he  sat,  his  bedroom, 
and  other  objects  of  interest  were  well  re- 
produced. These  plates  were  realistically 
treated,  with  no  attempt  at  modifying  or 
softening  down  harsh  and  unpleasant  facts. 
The  photomicrographs  were  curious  and 
interesting,  and  excited  afresh  one's  admira- 
tion for  the  wonders  of  nature,  as  well  as  for 
those  of  the  camera.  Here  were  seen  the 
tongue  of  a  blow-fly,  enlarged  seventy-five 
diameters;  the  eye  of  a  robber-fly;  the  scales 
of  a  butterfly.  A  grain  of  Norway  seashore 
sand  was  visible  in  all  its  beautiful  geometric 


400 


THE   PHILADELPHIA  PHOTOGE APHEE. 


precision.  There  was  a  good  showing  of 
platinotypes.  The  figure  subject,  "Expecta- 
tion," showed  a  little  boy  dressed  in  men's 
clothes,  holding  newspapers  under  his  arm. 
The  figure  is  placed  on  a  table.  "Halt" 
shows  a  man  driving  a  horse,  while  a  small 
boy  grasps  the  horse  and  forces  him  to  stop. 

Mr.  Chas.  Wager  Hull,  the  veteran  ama- 
teur, exhibited  some  admirable  marine  views. 
There  were  many  other  fine  things  worthy 
of  mention,  but  my  space  is  too  small  to  in- 
clude them  here. 

It  may  be  said,  in  conclusion,  that  a  repe- 
tition of  this  exhibition  every  year  must 
need  have  an  elevating  effect  upon  the  pho- 
tographic art-development  of  the  countiy. 
It  would  be  well  if  every  city  in  the  Union 
could  be  the  centre  of  a  similar  organiza- 
tion, with  corresponding  members  in  outly- 
ing towns.  The  camera  in  the  hands  of  an 
intelligent  person,  with  a  fair  knowledge  of 
photographic  technique,  becomes  an  impor- 
tant factor  in  general  art-education.  It 
seems  rather  a  pity  that  the  professional 
element  should  be  excluded  from  the  Society 
of  Amateur  Photographers.  Amateurs  can- 
not, in  justice  to  themselves,  be  brought  into 
competition  with  professional  workers  in 
any  calling.  The  distinction  in  this  case 
does  not  appear  to  lie  in  the  question  of 
rivalry  on  technical  merits,  but  rather  in 
this,  that  the  amateur  photographer  regards 
his  work  from  the  standpoint  of  art,  while 
with  the  professional  it  is  a  trade,  an  affair 
of  routine,  a  means  of  making  monej^.  The 
amateur  may  please  himself;  the  profes- 
sional must  please  the  public.  The  amateur 
may  indulge  in  fancies,  experiments,  art 
theories,  made  tangible.  The  professional 
must  move  cautiously,  if  he  would  go  at  a 
faster  and  freer  pace  than  the  jog-trot  of 
custom  allows. 


SOCIETY  GOSSIP. 

The  Photographic  Society  of  Phila- 
delphia.— Minutes  of  the  stated  meeting 
held  November  4,  1885,  the  President,  Mr. 
Joseph  W.  Bates,  in  the  Chair. 

The  minutes  of  the  last  stated  meeting 
having  been  approved,  the  Secretary  read  a 
notice  in  regard  to  the  third  annual  exhibi- 
tion of  the  Boston  Society  of  Amateur  Pho- 


tographers, which,  it  was  announced,  would 
be  held  in  the  rooms  of  the  Boston  Art 
Club,  from  November  24  to  28. 

The  resignation  of  Mr.  Charles  H.  Mann 
was  read  and  duly  accepted. 

The  Exhibition  Committee  reported  that 
arrangements  had  been  made  to  hold  the 
exhibition  in  the  galleries  of  the  Pennsyl- 
vania Academy  of  Pine  Arts  during  the 
week  beginning  January  11,  1886.  It  will 
be  kept  open  day  and  evening,  and  it  is 
proposed  to  exhibit  the  lantern  slides  sent 
to  the  exhibition  in  the  lecture  room  of  the 
Academy  upon  one  evening  during  the 
week.  It  was  also  stated  that  all  restrictions 
as  to  including  pictures  of  different  classes 
in  a  single  frame  had  been  withdrawn.  The 
pictures  will  not  be  hung  by  classes,  but  all 
of  each  person  will  be  hung  together,  with- 
out regard  to  class. 

The  Committee  on  Membership  reported 
the  election  as  active  members  of  Messrs. 
William  C.  Tripler,  Edward  D.  Page,  and 
Prof.  W.  D.  Holmes. 

Mr.  Coates  asked  for  the  experience  of 
members  in  the  use  of  paper  negatives.  But 
few  of  those  present  had  used  them  to  any 
extent.  An  objection  to  their  use  seemed 
to  be  the  oiling  that  is  necessary.  There 
is  considerable  difficulty  in  doing  this  pro- 
perly, and  it  was  mentioned  that  reoiling  was 
sometimes  necessary.  Some  prints  had  been 
made  without  oiling  with  good  success, 
though,  of  course,  more  time  was  necessary. 

The  question  was  asked  whether  any 
harm  would  result  if,  when  intensifying  a 
plate  with  mercury  and  cyanide  of  silver,  the 
blackening  action  was  stopped  before  it  had 
permeated  entirely  through  the  film,  the 
undei;side  being  left  as  whitened  by  the 
mercury?  It  was  thought  that  the  film 
should  always  be  blackened  entirely  through 
to  prevent  future  injurious  action  of  the 
mercury  on  the  negative.  If  this  made  the 
negative  too  intense,  reduction  could  be 
resorted  to  to  bring  it  to  proper  printing 
density. 

Mr.  McCollin  showed  one  of  M.  A.  S. 
Barker's  "Focal  Plan^ "  Shutters.  With 
this  shutter  the  exposure  is  made  through  a 
narrow  slit  in  a  curtain  passing  directly  in 
front  of  the  plate.  In  describing  the  shut- 
ter, Mr.  McCollin  said  : 


THE    PHILADELPHIA    PHOTOGRAPHER 


401 


"Every  point  of  the  luminous  image 
formed  on  the  sensitive  plate  in  the  camera 
is  the  focal  point  or  apex  of  a  cone  of  rays 
whose  base  is  the  field  of  the  lens.  A  little 
study  of  this  optical  truth  will  show  wherein 
Barker's  Focal  Plane  Shutter  has  a  great 
advantage  over  other  exposers.  It  will  be 
conceded  that  any  exposing  aperture  will 
occupy  a  less  time  in  passing  a  given  point 
than  it  would  require  to  traverse  the  field  of 
the  lens;  and,  as  the  point  thus  exposed 
contains  the  concentrated  volume  of  rays 
from  the  whole  field  of  the  lens,  the  time  is 
shortened  without  loss  of  actinic  effect." 

Some  photographers  who  have  not  looked 
particularly  into  the  optics  of  photography 
do  not  at  once  grasp  this  wonderful  fact  of 
the  innumerable  cones  of  rays  proceeding 
from  one  base  to  all  points  of  the  plate;  but 
every  one  knows  that  if  he  has  a  small  stop 
in  his  lens  and  removes  it,  he  immediately 
increases  the  brightness  of  the  whole  picture 
— of  the  whole  focal  plane. 

A  small  portion  only  of  the  plate  being 
exposed  at  any  one  time,  it  is  protected  from 
the  action  of  the  diffused  light  always  pres- 
ent in  the  camera  to,  some  degree,  especially 
when  a  large  stop  is  used.  The  plate  is  also 
protected  from  any  motion  in  the  object, 
except  on  that  portion  which  is  actually 
being  exposed. 

One  of  the  pictures  exhibited  by  Mr.  Mc- 
Collin  shows  the  method  of  discharging 
Belgian  paving  blocks  from  a  vessel.  An 
iron  tub  or  bucket  has  been  hoisted  from 
the  vessel  with  upwards  of  a  ton  and  a  half 
of  granite  blocks,  and  is  seen  overturned  in 
the  air,  with  the  blocks  falling  to  the  pile 
on  the  wharf.  The  blocks  in  the  air  are  as 
sharp  as  those  lying  in  the  pile  below,  and 
the  dust  made  by  the  grinding  together  of 
these  heavy  stones  is  a  striking  feature  of 
the  picture. 

Mr.  McCollin  also  exhibited  two  plates 
secured  by  Mr.  Barker  during  a  thunder- 
storm on  Thursday  evening,  October  29. 
The  scene  was  illuminated  by  a  single  flash 
of  lightning  for  each  plate;  yet  there  is  a 
clear  sky,  details  of  the  landscape  both  near 
and  far,  and  altogether  a  fair  photograph  of 
the  stable  and  surroundings,  considering  the 
circumstances  under  which  it  was  made. 

Mr.  W.   D.  H.  Wilson  also  had   a  new 


shutter  to  bring  to  the  notice  of  the  Society, 
being  the  latest  invention  of  Mr.  Prosch, 
known  as  the  "Duplex  Shutter."  This 
shutter  is  made  to  work  between  the  com- 
binations of  a  rapid  symmetrical  or  recti- 
linear lens,  a  special  tube  furnished  with 
the  shutter  taking  the  place  of  the  original 
lens  tube,  so  that  it  is  preserved  intact  for 
other  use  when  desired.  The  original  dia- 
phragm of  the  lens  can  be  used.  One  of 
the  most  valuable  features  is  that,  by  a 
simple  adjustment,  the  shutter  may  be 
opened  by  the  pneumatic  release,  remaining 
open  as  long  as  desired,  and  then  closed  by 
pressing  the  rubber  b'db  a  second  time. 
This  makes  it  a  very  perfect  exposer  for 
either  time  or  instantaneous  work 

Mr.  Walmsley  showed  a  new  camera, 
made  by  the  Scovill  Manufacturing  Com- 
pany, for  copying  and  for  making  photo- 
micrographs. A  number  of  valuable  fea- 
tures had  been  combined  in  the  camera.  It 
was  provided  with  a  double  shifting  front 
of  value  in  making  lantern  slides,  where  it 
was  desirable  to  reproduce  only  a  certain 
part  of  the  negative.  By  detaching  the 
rear  portion  of  the  bed,  and  attaching  the 
camera  to  a  tripod,  it  answered  well  for 
landscape  or  other  ordinary  work.  In  the 
centre  of  the  focussing  screen  a  small  disk 
of  thin  glass  was  cemented,  forming  a  sur- 
face suitable  for  the  delicate  focussing  neces- 
sary for  microscopic  work.  A  door  in  the 
side  gave  access  to  the  lens  in  the  middle  of 
the  camera  when  used  for  copying  purposes. 

Mr.  Bartlett  having  noticed  that  the  sub- 
stances used  in  treating  the  sensitive  film 
for  isochromatic  photography  were  gener- 
ally fluorescent  bodies,  suggested  that  ex- 
periments be  made  in  this  direction  with 
Eesculin,  the  active  principle  of  the  horse 
chestnut,  which  is  a  very  beautiful  fluo- 
rescent body. 

Adjourned. 

Robert  S.  Redfield, 

Secretary. 

Exhibition  of  the  Photographic  So- 
ciety of  Philadelphia. — We  have  al- 
ready published  the  announcement  of  this 
Exhibition,  and  now  add  the  particulars  as 
to  dates,  directions  for  shipping,  etc. : 

The  Photographic  Society  of  Philadelphia 
will  hold  an  Exhibition  of  Photographs,  in 


402 


THE    PHILADELPHIA    PHOTOGRAPHER. 


the  galleries  of  The  Pennsylvania  Academy 
of  the  Fine  Arts,  beginning  January  11, 
1886,  and  continuing  one  week. 

Pictures  will  he  received  only  in  accord- 
ance with  the  rules  and  classification  given 
in  the  circular  issued  May  1,  1885. 

Those  proposing  to  send  pictures  will 
please  notify  the  secretary  immediately, 
stating  the  probable  number  and  size,  in 
order  that  entry  blanks  and  labels  may  be 
furnished  them. 

All  entries  must  be  made  in  accordance 
with  Kule  4,  and  particular  attention  is 
called  to  Eules  5,  6,  and  7. 

Early  notice  in  regard  to  transparencies 
and  lantern  slides  is  important,  in  order 
that  proper  arrangements  for  exhibiting 
them  may  be  made. 

A  lantern  exhibition  will  be  given  upon 
one  evening  during  the  week. 

Pictures  should  be  sent  to  arrive  after 
December  25th,  and  not  later  than  January 
6th. 

They  must  be  marked  (except  when  sent 
by  mail),  "  Photographic  Society  of  Phila- 
delphia, care  Pennsylvania  Academy  of  the 
Fine  Arts,  Broad  and  Cherry  Streets,  Phila- 
delphia, Pa." 

All  transportation  charges  must  be  pre- 
paid. 

All  mail  matter  should  be  addressed  to 
the  secretary,  as  below. 

Copies  of  the  rules  and  classification,  and 
any  further  information  required,  will  be 
furnished  on  examination. 

Robert  S.  Redpield, 

Corresponding  Secretary. 

1601  Callowhill  St.,  Philadelphia,  Pa. 
November  2,  1885. 

[We  believe  the  exhibition  promises  to  be 
one  of  the  finest  ever  held  anywhere,  and 
hope  it  will  be  an  occasion  whose  advantages 
will  not  be  overlooked. — Ed.  P.  P.] 

Pacific  Coast  Amateur  Photographic 
Association. — Regular  meeting  of  the  Pa- 
cific Coast  Amateur  Photographic  Associa- 
tion, Tuesday  evening,  October  29,  1885,  at 
the  Association  rooms,  318  Pine  Street,  San 
Francisco.  Vice-President  Lowden  in  the 
Chair. 

Minutes  of  last  meeting  read,  corrected, 
and  approved. 


The  committee  on  the  prize  picture  for 
October,  "  A  Hard  Blow,"  reported  in  favor 
of  Mr.  Tyler's  print. 

A  committee,  consisting  of  Messrs.  Tyler, 
Partridge,  and  Gibbs,  were  appointed  to 
examine  and  pass  upon  the  prize  prints  for 
November,  subject  "  Caught  " 

After  consultation,  the  committe  reported 
in  favor  of  Mr.  Blackburn's  print. 

Mr.  Blackburn  was  very,  happy  in  his 
choice  of  a  subject,  which  represented  some 
boys  caught  by  the  tide  in  a  cove  at  the  sea- 
shore. 

After  considerable  discussion,  "Solid 
Comfort  "  was  chosen  as  the  subject  of  illus- 
tration for  the  December  meeting. 

The  report  of  the  committee  being  favor- 
able, Messrs.  Haines  and  Sharer  were  elected 
members  of  the  Association. 

Messrs.  C.  P.  Goddard  and  A.  W.  Stan- 
ford were  proposed  for  membership,  and 
referred  to  proper  committee. 

A  letter  from  Mr.  Sanford  Robison,  a 
member  now  residing  in  Guatemala,  to  Mr. 
Gibbs  and  the  members  of  the  Association 
generally,  was  read  and  listened  to  with 
great  interest. 

Mr.  Robison  has  a  magnificent  field  for 
photographic  work  and  is  evidently  taking 
advantage  of  it.  He  reports  that  it  is  simply 
impossible  to  make  good  silver  prints,  be- 
cause of  the  heat  and  dampness,  and  that  he 
has  been  obliged  to  content  himself  with 
blue  prints;  he  has  not  been  troubled  with 
frilling,  which  he  attributes  to  his  method 
of  development.  Mr.  Robison  uses  the  pot- 
ash developer  in  an  extremely  diluted  form, 
never  using  more  than  two-thirds  of  a  grain 
of  "  pyro  "  to  the  ounce  of  water. 

Moved  that  the  secretary  provide  a  scrap- 
book  for  the  preservation  of  formulas,  etc. 
Adopted. 

On  motion  adjourned. 

W.  B.  Tyler, 

Secretary. 

Philadelphia  Amateur  Photogra- 
phic Club. — The  regular  monthly  meeting 
took  place  on  Monday  evening,  November 
16th,  with  Vice-President  Haines  in  the 
Chair. 

After  the  minutes  of  the  previous  meeting 
were   read   and  approved,   nominations   of 


THE    PHILADELPHIA    PHOTOGRAPHER. 


403 


officers  to  serve  the  coming  year  were  made 
with  the  following  result : 

President. — H.  Pusey. 

Vice-President. — Wm.  A.  Haines. 

Treasurer. — A.  Thompson. 

Secretary. — W.  W.  Kandall. 

The  Treasurer's  report,  which  showed  a 
flourishing  condition  of  the  Club's  finances, 
was  read  and  approved. 

Mr.  Clements  then  remarked  that,  being 
of  the  opinion  that  our  dark-room  was  not 
so  well  lighted  as  it  might  be  said,  he  had 
written  to  several  prominent  plate-makers 
to  get  their  views  on  the  subject.  Among 
the  replies  received  by  him  was  one~from 
Mr.  M.  A.  Seed,  of  St.  Louis.  As  this 
letter  was  thought  to  be  of  particular  in- 
terest, it  was  decided  to  incorporate  it  in 
the  regular  minutes  of  our  meeting. 

St.  Louis,  November  7,  1885. 

A.  Clements,  Esq. 

Dear  Sir  :  I  consider  the  question,  "  How 
to  light  a  dark-room?"  an  important  one, 
for  the  following  reasons  : 

First.  A  light  which  is  not  in  the  least 
injurious  to  the  eyes,  and,  consequently,  a 
pleasure  to  work  in,  is  desirable.  Secondly. 
One  that  will  not  fog  the  most  sensitive 
plate.  Thirdly.  A  uniform  light  to  enable 
you  to  get  uniform  intensities. 

Nearly  all  dark-rooms  have  one  side '  of 
wood,  so  I  would  propose  that  an  opening 
be  cut  in  the  partition  8  x  10  inches,  fitted 
with  orange  and  green  glass,  with  a  sheet  of 
English  tissue  paper,  white  or  yellow,  be- 
tween the  glass.  Outside  the  8  x  10  opening 
inclose  with  a  10  x  12  box.  Insert  a  lamp 
having  a  f  wick.  Always  put  the  light  the 
same  height,  and  see  that  the  top  and  bot- 
tom of  the  box  have  plenty  of  air-holes. 

The  sample  of  glass  I  send  you  by  express. 
I  would  further  suggest  that,  when  an  ex- 
tremely sensitive  plate  is  to  be  developed, 
that  it  be  only  held  near  the  light  while  the 
developer  is  being  poured  on;  when  the 
plate  is  thoroughly  welted  and  covered, 
hold  your  tray  so  that  the  light  will  not 
touch  the  plate  until  it  is  about  half  de- 
veloped. Then  let  the  light  shine  on  it  as 
much  as  you  like  to  see  clearly  its  progress. 
I  think,  with  the  above  arrangements,  you 
will  find  that  the  development    of   a  dry 


plate  is  simple  and  easy,  not  injurious  to  the 
eyes,  and  the  results  uniform. 

Truly  yours, 

ftl .  A.  Seed. 

Mr.  Haines  then  showed  one  of  the  new 
Prosch  shutters,  which  was  kindly  loaned 
by  Messrs.  Wilson,  Hood  &  Co.  ;  and  also 
announced  that  he  had,  for  trial,  a  package 
of  the  "  Inglis  Triumph"  plate  from  Mr. 
Walmsley. 

A  committee,  consisting  of  Messrs.  Cun- 
ningham, Gillingham,  and  Randall,  was 
appointed  by  the  Vice-President  to  look 
into  the  question  of  incorporating  the  Club. 

After  a  recess  for  a  lantern  exhibition,  the 
meeting  adjourned. 

W.  W.  Randall, 

Secretary. 

The  Society  of  Amateur  Photogra- 
phers, New  York,  have  had  some  interest- 
ing meetings  of  late,  especially  on  October 
13th,  when  the  experiences  of  those  who 
photographed  the  effects  of  the  Hell  Gate 
explosion  were  compared,  and  Dr.  Jane- 
way's  excellent  paper  (p.  386)  was  read. 

We  seemed  to  the  worthy  Secretary  of 
this  Society,  to  have  appeared  a  little  too 
severe  in  our  remarks  at  the  foot  of  page  367, 
last  month. 

We  did  not  intend  to  be  unjust.  We 
spoke  pro  bono  publico,  and  with  no  harsh 
intent  whatever,  proof  of  which  we  are  glad 
to  give  by  adding  the  letter  of  the  secretary 
as  follows : 

"New  York,  November  4,  1885. 

"Dear  Sir:  Your  'skit'  at  our  Society 
in  your  last  issue  is  not  particularly  credit- 
able to  your  spirit  of  fairness.  Our  copy  is 
sent  out  to  all  photographic  journals  alike  ; 
and  it  is  certainly  no  fault  of  ours  if  your 
publication-day  comes  before  or  after  the 
day  when  we  can  get  out  our  copy  and 
when  you  receive  it,  as  we  do  not  make  it  a 
point  to  arrange  our  meeting-nights  so  as  to 
'  cater '  to  the  publication-day  of  yours  or 
any  other  journal. 

"  You  do  not  seem  to  take  into  considera- 
tion the  fact  that  this  Society  is  the  only  one 
in  the  world  that  goes  to  the  trouble  and 
expense  of  having  a  stenographic  report  of 
meetings. 

"  Taking  the  last  meeting  (last  week  Tues- 


404 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


day)  for  example :  The  report  came  from 
stenographer  Saturday;  was  split  up  and  sent 
out  for  correction  same  day  ;  and  is  not  yet 
received  back  from  authors  with  corrections. 
With  your  experience  you  will  readily  see 
that  to  make  eight  or  ten  copies  of  this  by 
hand  is  impossible  ;  and  that  to  get  this  set 
up,  typographical  errors  corrected,  revise 
galley -proofs  got  out  and  distributed,  will 
take  surely  three  or  four  days  more  after  it 
all  comes  in,  and  then  allowing  for  Sundays, 
.  etc.,  and  delay  in  mail,  the  time  you  men- 
tion is  not  impossible,  though  it  is  longer 
than  usual  ;  and,  while  we  have  not  a 
printing  office  at  our  disposal,  delay  cannot 
be  easily  avoided. 

"  To  your  statement  that  the  meetings  of 
this  Society  are  '  largely  devoted  to  the  ex- 
hibition of  articles  with  which  we  are  all 
familiar,'  I  take  emphatic  exception :  that 
is,  so  far  as  it  implies  a  defect  in  our  manage- 
ment of  meetings.  Of  course,  as  to  the  om- 
niscience of  the  editorial  lwe,'  and  the  ex- 
tent to  which  it  is  well  informed,  in  common 
with  its  'more  (than  what?)  practical' 
readers,  that  is  a  matter  of  conjecture  (or 
opinion).  The  scope  of  an  amateur  society  is 
to  '  introduce  many  of  its  members  to  old 
principles  and  results;'  in  furtherance  of 
which,  many  things  which  are,  doubtless,  not 
new  of  themselves,  have  since  been  put  for- 
ward, though  almost  always  with  improve- 
ments of  some  sort,  either  applied  or  sug- 
gested, as  they  are  made.  But  aside  from 
this,  we  show  far  more  novelties  than  '  chest- 
nuts,' and  more  than  any  other  society  of 
similar  scope  anywhere,  in  proportion  to  the 
field  we  have  to  draw  from.  Of  course,  the 
old  established  societies  of  Europe  have  larger 
membership,  and  more  compact  and  scien- 
tific, to  turn  to.  A  careful  examination  of 
our  proceedings  will  show  this  to  any  dis- 
interested observer. 

"  As  to  the  insinuation  you  throw  out  re- 
garding 'stock-house  '  influence,  I  would 
say  that  we  were  prepared  to  encounter 
such  charges,  having  been  warned  by  our 
older  members  to  look  out  for  that  '  rock 
ahead  ;'  but  scarcely  expected  that  the  '  first 
stone '  would  be  cast  by  the  Philadelphia 
Photographer.  If  the  thing  is  as  you 
say,  then  it  must  have  taken  place  very 
'unconsciously'  to  those  interested,  whose 


aim   from  the  first  has  been  to  avoid  any 
such   complication,  and  who,  in   their  own 
opinion,  have  so  far  succeeded. 
"Very  truly,  yours, 

"  C.  "W.  Canfield, 

Secretary." 

We  duly  received  the  following  invita- 
tion : 

"  First  Annual  Exhibition  of  the  Society 
of  Amateur  Photographers  of  New  York, 
held  at  1262  Broadway,  corner  32d  Street. 
Admit  Mr.  E.  L.  Wilson  and  friends.  With 
compliments  of  C.  W.  Canfield,  Secretary. 
Tuesday  Evening,  November  17th,  7.30  to 
10.30;  Wednesday,  November  18th,  10  a.  m. 
to  5  p.  M.  Take  elevator  at  32d  Street 
entrance." 

We  attended  in  person  and  made  notes  for 
future  use.  Meanwhile  we  employed  Miss 
Charlotte  Adams  to  give  us  her  able  criti- 
cisms,— a  piece  of  enterprise  we  hope  our 
N.  Y.  Society  friends  will  receive  as  assur- 
ance of  our  sincere  desire  for  their  best 
growth  and  welfare.  At  present  our  space 
is  too  small  to  hold  all  they  send  us  to  print, 
even  did  it  come  in  time.  Presently  we 
shall  have  things  better. — Ed.  P.  P. 

Columbus  Amateur  Photographic. 
Club. — A  regular  meeting  of  this  Club  was 
held  on  November  16,  the  newly  elected 
officers  being  at  their  posts:  Prof.  N.  T. 
Lord,  President;  Prof.  W.  S.  Goodnough, 
Secretary. 

A  motion  was  carried  that  every  member 
should  be  prepared,  in  alphabetical  order,  to 
appear  before  the  Club,  one  each  evening, 
with  a  contribution,  paper,  or  demonstra- 
tion; each  person  to  furnish  an  abstract  of 
his  paper,  if  desired. 

It  was  suggested  that  the  necessary  appli- 
ances for  developing  and  carrying  on  other 
demonstrations  and  experiments  were  need- 
ed, and  the  President  and  Secretary  were 
appointed  a  committee  to  prepare  a  list  and 
estimate  for  the  next  meeting. 

Members  were  requested  to  try  to  comply 
with  a  rule  of  the  Club  that  requires  every 
one  to  bring  a  negative  and  a  proof  or  print 
from  it  to  each  meeting. 

Mr.  W.  H.  Miller  had  some  successful 
paper  negatives  and  prints  from  them. 

The  matter  was  discussed  as  to  whether  „ 


THE   PHILADELPHIA    PHOTOGEAPHEE. 


405 


portrait  lens,  stopped  down,  would  give  as 
good  results,  in  making  lantern  transparen- 
cies with  the  camera,  as  a  lens  of  the  recti- 
linear class,  a  single  view  or  a  wide-angle 
lens.  Several  members  claimed  that  it  made 
little  difference,  if  the  portrait  lens  was  a 
good  one  and  well  stopped  down. 

W.  S.  Goodnotjgh, 

Secretary. 


OUR  PICTURE. 


The  set  of  nine  pictures  given  with  this 
number,  are  part  of  the  exhibit  of  Frederick 
Muller,  of  Munich,  which  secured  the 
second  Gennert  Prize  of  the  Buffalo  Conven- 
tion. 

In  some  respects,  they  are  more  interest- 
ing than  those  which  secured  the  first  prize. 
They  are  not  so  large,  only  about  7Jx4J 
inches,  but  there  is  in  them  a  deal  of  quiet 
artistic  feeling.  The  first  prize  pictures 
were  admirable  examples  of  artistic  por- 
traiture. In  these  pictures  the  artist  has 
gone  beyond  that,  and  made  single  figure 
pictures  which  tell  their  own  stories  with 
more  or  less  success.  The  top  left-hand  pic- 
ture might  be  called  "  Take  a  Pinch  ;"  the 
old  German  dominie  extends  his  snuff-box, 
with  the  loving  look  of  an  inveterate  snuff- 
taker.  The  attitude  of  the  head,  the  pose  of 
the  figure,  and  the  position  of  the  hands 
upon  the  box  are  all  excellent,  but  the  ex- 
pression of  the  face  is  perfect,  and  shows 
that  Mr.  Miiller  knows  how  to  select  and 
drill  his  models.  The  next  picture  to  it, 
and  the  one  below  that,  girl  with  havmak- 
ing  rake,  are  the  only  two  in  the  collection 
which  may  be  called  ordinary  subjects.  Ex- 
cellent photographically  and  artistically  as 
to  composition,  light  and  shade,  etc.,  they 
lack  the  interest  of  special  attitude  and  ex- 
pression, which  is  seen  in  the  others.  Notice 
the  musical  tramp  at  the  top  right-hand 
corner.  Does  it  not  at  once  suggest  the  title 
"Down  on  his  Luck?"  The  hands  in  pocket, 
the  raised  shoulders,  battered  hat,  head  in- 
clined forward,  and  sunk  in  his  neck,  and 
the  woebegone  expression  of  his  face,  tell 
the  story  of  tramps  in  the  cold  from  one 
saloon  to  another,  the  playing  of  cheerful  or 
lively  tunes,  when  feeling  the  very  reverse 
of  cheerful,  and  the  hungry  despair  with 


which  he  tucks  his  instrument  under  his 
arm  when  he  has  failed  to  earn  a  cent.  A 
story  full  of  pathos  could  be  written  from 
that  picture. 

Very  different  are  the  first  and  second 
pictures  on  the  left  from  the  top.  The  under 
picture  (the  workman  in  his  apron)  is  evi- 
dently the  same  as  the  snuff-taker,  but  how 
different  the  attitude  and  expression,  which 
say  without  words,  "  I  will  pay  you  to-mor- 
row !  do  you  think  I  want  to  cheat  you?" 
The  hands  thrust  to  the  bottom  of  his  pockets 
in  the  fruitless  search  for  the  money  to  pay 
for  his  drink,  and  the  air  of  offended  dignity, 
shown  as  much  by  the  pose  of  the  head  as 
by  the  expression  of  face,  makes  this  picture 
(next  to  the  tramp)  the  best  in  the  collec- 
tion. 

In  all,  except  the  two  named  above,  there 
ate  great  study  and  artistic  knowledge  dis- 
played by  the  photographer,  but  with  so 
much  art  that  the  study  is  not  apparent  at 
first  sight.  The  stories  are  told  without  ef- 
fort, and  in  a  quiet,  natural  manner,  without 
any  aiming  at  extremes  of  action  or  light 
and  shade.  They  convey  a  lesson  to  pho- 
tographers on  this  side  which  we  would  do 
well  to  study.  As  a  rule,  photographers  who 
make  a  break  from  the  ordinary  rank  of  por- 
trait photography,  and  attempt  to  tell  a  story 
by  their  cameras  as  painters  do  with  their 
brushes,  make  the  same  mistakes  as  young 
artists  make  when  they  first  leave  the  art 
schools,  viz.,  they  are  too  ambitious,  and 
attempt  things  which  are  beyond  their 
powers.  We  have  never  known  a  young 
art-student,  fresh  from  the  academy,  who 
was  not  going  to  immortalize  himself  right 
away  by  some  grand  historical  or  classical 
painting  ;  we  have  seen  many  such  com- 
menced, but  not  one  can  we  remember  to 
have  seen  finished;  for  experience  teaches 
that  simpler  subjects  can  be  made  as  effec- 
tive, and  if  the  student  has  any  real  art  in 
him  at  all,  he  finds  that  the  road  to  progress 
is  to  attempt  those  subjects  which  are  within 
his  powers.  So  photographers  would  do 
well  to  give  up  for  a  time  attempting  such 
subjects  as  shipwrecked  people  upon  a  raft 
waving  signals  of  distress,  burning  martyrs 
at  the  stake,  etc.,  which  have  only  excited 
the  derision  of  the  outside  press.  Keep  well 
within  the  limits  of  our  own  knowledge  of 


406 


THE    PHILADELPHIA    PHOTOGPAPHEK. 


art,  and  the  capabilities  of  our  art-science, 
and  try  to  produce  such  pictures  as  are  here 
presented. 

The  pictures  were  printed  on  the  N".  P.  A. 


paper,  and  the  reductions  made  on  Stanley 
plates,  both  supplied  us  by  Messrs.  E.  &  H. 
T.  Anthony  &  Co.,  New  York. 


§iitm'»  f  alk 


Items  of  News. — The  South  Bend  Daily  Tri- 
bune devotes  nearly  a  column  to  the  praise  and 
description  of  And.  McDonald's  new  and  beau- 
tiful studio.  We  are  pleased  at  such  evidences 
of  prosperity. — "  Clear,  brilliant,  and  beautiful, 
full  of  individuality,"  says  the  Canon  City  Re- 
cord, is  the  work  of  Mr.  Charles  E.  Emery,  our 
talented  subscriber.  Good  ! — The  Sporting  and 
Dramatic  Journal  has  a  fine  engraving  of  Edwin 
Forrest  Landy,  champion  bicyclist  and  son  of 
ex-president  James  Landy,  of  Cincinnati,  and 
an  editorial  a  column  long,  praising  our  young 
friend. — The  Cleveland  Voice  has  been  inter- 
viewing our  friend,  ex-president  J.  F.  Ryder, 
and  in  an  article  entitled  "Miracle  Photog- 
raphy," about  three  columns  long,  inserts  a 
number  of  engravings  from  Mr.  Ryder's  pho- 
tographs. They  are  all  very  amusing. —  By  the 
way,  photography  is  responsible  for  the  great 
wave  of  newspaper  illustration  which  is  now 
passing  over  the  country,  for  without  it  the  in- 
fection could  not  be.  May  its  shadow  never 
grow  less. 


A  Fine  Interior. — Messrs.  Blair  &  Prince, 
148  W.  Fourth  St.,  Cincinnati,  Ohio,  agents  for 
the  "  Blair  Tourograph  and  Dry-plate  Co.," 
Boston,  have  favored  us  with  an  admirable  8  x  10 
view  of  their  salesroom,  No.  1.  Besides  being 
an  excellent  view,  it  is  a  very  interesting  one  of 
a  finely  supplied  stock  depot — cameras,  cards, 
chemicals,  and  all  sorts  of  appliances,  even  in 
the  extreme  rear  of  the  wareroom,  are  sharply 
depicted,  and  must  have  been  taken  by  the  Blair 
Combination  Camera.  The  establishment  seems 
to  be  most  convenient  and  well-lighted. 


Mr.  Cyrus  Prosch,  of  36  Piatt  St.,  N.  Y.,  the 
ingenious  manufacturer  of  shutters,  called  upon 
us  a  few  days  ago  and  exhibited  his  marvellous 
Duplex  Shutter,  described  in  Society  Gossip. 


Gold  and  Silver  and  Wastes.  —  The  fine 
establishment  of  Mr.  H.  F.  Carpenter,  29  and 
31  Page  St.,  Providence,  R.  I.,  is  represented  in 
our  advertising  columns  this  month  by  an  en- 
graving, to  which  is  appended  Mr.  Carpenter's 


announcement  to  the  trade  of  his  desire  to  be 
useful  to  the  craft.  His  long  and  good  standing 
in  his  line  will  continue  to  enlarge  his  business, 
and  we  hope  our  advertisement  will  help.  You 
will  do  well  to  note  his  price  for  gold. 


A  New  Dry-plate  Factory  is  to  be  opened 
soon  in  New  Jersey,  near  New  York  City — a 
sort  of  union  of  eastern  and  western  talent  to 
work  it — an  expert  dry-plate  maker,  his  late 
managing  man,  a  veteran  New  York  stock 
dealer,  and  a  glass  importing  firm,  will  make  a 
strong  syndicate. 

Those  Thumb  Marks. — Why  did  we  not  think 
to  say  last  month  that  the  "thumb-mark" 
method  is  not  altogether  new  after  all  ?  Mr. 
Pray  shows  his  hand  on  another  page,  but  even 
he  was  antedated  by  Mohammed,  who,  when  he 
ceded  the  territory  to  the  monks  for  the  convent 
of  St.  Catherine,  not  being  able  to  write,  sealed 
the  compact  by  dipping  his  whole  hand,  thumb 
and  all,  in  ink,  and  pressing  it  upon  the  parch- 
ment.    First ! 


Who  was  It? — On  a  tiny  wooden  roller,  came 
to  our  office  a  photograph  of  a  camera  with  a  drop 
attached — wheels,  cards,  pulleys,  etc.  Please 
tell  us  who  sent  it? 

The  announcement  of  the  Franklin  Insti- 
tute Lectures,  1885-1886,  is  received. 

The  Overflow  Book  Advertisement  does 
not  appear  this  month,  but  we  have  a  few  books 
left.     Order  quickly. 


The  110th  Thousand  of  "  How  to  Make 
Photographs,"  has  been  sent  us  by  the  Scovill 
Manufacturing  Co.,  N.  Y.  Important  addi- 
tions have  been  made  to  it.  Send  for  a  copy. 
No  charge. 

The  Moss  Engraving  Co.,  535  Pearl  St.,  N.  Y.? 
issue  two  large  sheets  of  splendid  holiday  photo- 
engravings and  a  catalogue.  Every  photog- 
rapher, by  a  little  push,  can  get  more  or  less  of 
this  work  to  do.     You  must  all  come  to  it. 


THE   PHILADELPHIA    PHOTOGKAPHEK. 


407 


Col.  V.  M.  Wilcox  (E.  &  H.  T.  Anthony  & 
Co.,  N.  Y.)  has  obtained  a  patent  for  his  new 
dry-plate  packing-box,  noticed  by  us  a  short 
time  ago.  Soon  the  "  Stanley"  plates  will 
come  to  us  in  the  Wilcox  case. 


Yenowtne's  "  Sunday  News,''  Milwaukee 
(Geo.  H.  Yenowine,  editor  and  proprietor),  is  a 
bright,  snappy  sheet,  most  ably  edited,  and 
amply  illustrated  by  photo-engraved  pictures. 
It  is  a  newspaper  of  the  times,  and  the  pictorial 
work  is  hardly  excelled.  Another  creation  made 
possible  by  photography. 


Messrs.  David  Tucker  &  Co.,  Buffalo,  N.  Y., 
are  agents  for  the  Hoover  Shutter,  an  ingenious 
contrivance  on  new  principles. 


Mr.  L.  M.  Rice,  Warren,  0.,  says  :  "  Running 
a  gallery  without  your  valuable  journal  is  hardlv 
the  thing." 


Mr.  E.  Long,  Quincy,  111.,  has  sent  us  a  pho- 
tograph of  his  model  solar-printing  establish- 
ment. Seven  direct  printers  stand  with  their 
one  eye  Sol-emnly  directed  to  the  heavens  while 
they  work — and  it  does  take  Long  to  fill  orders. 
It  is  a  clean,  comfortable-looking  place.  Have 
you  Mr.  Long's  little  book  on  "  Portraits  in 
Crayon" ? 


Mr.  H.  Butler,  Vermillion,  Dakota,  has  sent 
us  some  excellent  portraits;  some  street  views  ; 
a  wonderful  horizontal  streak  of  lightning,  and 
a  lovely  view  in  the  city  park  for  our  illustration. 
All  are  examples  of  excellent  work. 


Mr.  J.  A.  French,  Keene,  N.  H.,  has  sent  us 
some  new  examples  of  his  outdoor  work,  which 
are  most  excellent. 


Sicilian  Photographs. — We  have  received 
some  admirable  groups  from  Sicily,  of  peasants 
and  children,  from  gelatine  plates,  and  printed 
upon  ready  sensitized  paper,  both  manufactured 
by  Baron  Tom  a  so  Melazzo,  of  Naples,  Italy. 
The  pictures  are  remarkable  for  their  natural- 
ness and  lifelike  expression,  showing  that  the 
plates  must  have  been  very  sensitive.  It  is 
claimed  too  that  the  paper  named  will  last  for 
months  without  deterioration.  It  is  refreshing 
to  see  such  work. 


The  Positive  Process  upon  Gelatine  Paper, 
wrTH  Special  Reference  to  Chloride  of  Sil- 
ver Gelatine.  By  Dr.  E.  A.  Just.  Published 
by  the  author  at  Vienna. 

Tbe  above  work  is  an  exhaustive  treatise 
upon  a  subject  which  is  at  present  gaining  the 


attention  of  practical  workers  in  photography — 
the  preparation  and  application  of  gelatine  emul- 
sion to  paper,  for  positives. 

The  author  has  treated  the  subject  both  prac- 
tically and  scientifically,  in  a  clear  and  forcible 
manner,  showing  a  wide  experience  in  the  various 
operations  of  photography. 

The  advantages  of  the  new  paper  are  touched 
upon.  Its  great  superiority  over  the  old  silver 
albumen  paper,  its  durability,  the  greater  rich- 
ness and  delicacy  in  the  shadows  which  are 
secured,  the  facility  with  which  tbe  operation 
may  be  performed  by  artificial  light,  its  applica- 
tion and  enlargements  for  crayon  work,  and  the 
greater  softness  and  harmony  in  the  tones. 

In  the  characteristic  German  manner  every 
step  is  pointed  out  definitely,  the  difficulties 
shown,  and  the  remedies  in  case  of  failures 
suggested. 

The  work  is  especially  valuable  in  the  theo- 
retic principles  it  evolves  for  the  explanation  of 
exposure,  development,  etc.,  which  cannot  fail 
to  be  of  interest  to  the  scientific  investigator 
whether  his  attention  be  drawn  to  paper  posi- 
tives or  to  the  general  philosophy  of  photo- 
graphic action  of  light. 

An  appendix  to  the  work  explains  the  mech- 
anism of  the  automatic  exposer — an  instrument 
invented  by  Engineer  Schlotterhause,  for  ex- 
posing continuous  rolls  of  the  gelatine  paper,  by 
means  of  which  the  time  of  exposure  is  mathe- 
matically regulated,  a  great  saving  in  time  and 
labor  effected,  and  cleaner  and  more  brilliant 
results  secured  than  when  the  operation  is  per- 
formed by  hand.  The  work  of  Dr.  Just  is 
embellished  with  a  number  of  beautiful  prints 
made  by  the  process  in  a  variety  of  pleasing 
tones,  for  presentation  of  which  the  author  makes 
apology  in  his  preface,  but  they  demand  the 
highest  praise  for  artistic  selection,  for  the  clear- 
ness and  softness  of  the  high  lights,  and  a 
richness  and  transparency  in  the  shadows  and 
hall  tones.  If  nothing  else  were  to  recommend 
the  gelatine  paper  to  the  profession,  we  are 
assured  these  prints  would. 

Mosaics,  1886,  is  ready.    144  pages.    50  cents. 

The  Fall  Catalogues  are  beginning  to  come 
in.  We  think  the  very  handsomest  is  from 
Messrs.  Wm.  H.  Walmsley  &  Co.,  1016  Chestnut 
St.  Its  literary  character  is  first  class  ;  its  ap- 
pearance is  beautiful,  and  its  arrangement  on 
an  excellent  plan.  It  contains  84  pages,  and  is 
bound  in  an  enamel  paper  cover,  elaborately 
illustrated.  It  is  supplemented  by  a  number  of 
useful     formula. — Messrs.     Loeber    Bros.,    104 


408 


THE    PHILADELPHIA    PHOTOGRAPHER. 


Fulton  St.,  N.  Y.,  also  favor  us  with  a  copy  of 
their  new  catalogue  of  50  pages — most  carefully 
and  compactly  arranged,  and  to  which  many 
useful  hints  are  added.     Be  sure  to  consult  it. 


Scovill's  Detective  Cameras  are  now  made 
of  two  sizes — 3J  x  44  and  4x5  inches,  and  are 
supplied  with  or  without  the  Eastman  Roll 
Holder.  They  are  very  compact,  and  it  will 
take  more  than  a  detective  to  detect  that  they 
are  "  detective.''  A  fine  chromatic  price  list  is 
now  ready  for  applicants. 

Mosaics,  1886,  is  ready.    144  pages.    50  cents. 

"A  Photographer's  Visit  to  Petra"  occupise 
some  twenty-seven  pages  in  the  Century  Maga- 
zine for  November,  and  is  illustrated  by  some 
twenty  superb  engravings  from  Mr.  Edward  L. 
Wilson's  photographs.  The  photographs  are 
followed  exactly,  in  line,  light,  and  shade,  so 
that  the  engravings  (costing  in  all  about  $2500) 
are  admirable  examples  of  what  the  three  arts — 
photography,  drawing,  and  wood  engraving — 
can  produce.  We  have  done  our  best  with  the 
literary  work  too,  and  wish  that  all  our  readers 
might  see  and  enjoy  it  all.  All  newsdealers  sell 
the  Century.  It  is  the  best  illustrated  magazine 
in  the  world. 


We  attended  The  Amateur  Society's  Exhibit 
in  New  York,  and  shall  comment  thereon.  Mean- 
while, the  notice  from  the  talented  pen  of  Miss 
Charlotte  Adams  will  be  read  with  much  profit. 
The  exhibition  was  a  creditable  success. 

Mr.  Edw.  C.  Litchfield,  Arlington,  Mass., 
has  occupied  his  new  studio. 

Licence's  Canadian  Photographer's  Ex- 
change, is  a  new  monthly  journal  devoted  to 
the  photographic  trade  in  Canada.  It  is  bright 
and  sprightly,  and  will  be  of  good  service.  Mr. 
R.  J.  Licence,  Toronto,  publisher.  Fifty  cents 
a  year. 


Mrs.  C.  W.  Clarke,  artist  colorist,  has  re- 
moved from  Baltimore  to  1926  North  Seven- 
teenth St.,  Philadelphia.     See  advertisement. 

A  good  sign  of  photographic  growth  is  the 
announcement  made  by  Mr.  G.  Cramer,  in  his 
advertisement,  of  the  growth  of  his  dry-plate 
trade.  It  has  lorced  him  to  double  his  facilities 
for  manufacturing  plates,  in  order  to  keep  pace 
with  the  orders  which  puur  in  upon  him.  We 
are   glad  to   see   such   appreciation   of  earnest 


effort  to  produce  plates  of  the  best  quality.    May 
it  continue. 

Wilson's  Photographics.  A  series  of  lessons 
in  photography,  By  Edward  L.  Wilson,  Ph.D., 
Philadelphia.  In  a  handsome  square  octave  of 
346  pages,  we  have  one  of  the  best  written  vol- 
umes on  photography  that  it  has  been  our  plea- 
sure to  read  lately.  The  author  divides  his 
subject  into  twenty-seven  lessons  and  treats  of 
every  conceivable  phase  of  purely  photographic 
work,  using  a  method  of  description  at  once 
plain  and  to  the  point.  The  points  in  which  Dr. 
Wilson  excels  are  those  that  refer  to  the  artistic 
treatment  of  the  subject,  and  the  lesson  that 
discusses  this  point  is  the  best  piece  of  work  of 
the  kind  we  know  of.  Beginning  with  some 
plain  and  exceedingly  interesting  remarks  upon 
the  rules  of  art  work,  he  leads  the  reader  through 
a  number  of  steps  in  the  study  to  a  realizing 
idea  of  the  object  to  be  attained  in  taking  a  pic- 
ture. Never  in  the  history  of  photography  has 
there  been  a  greater  need  of  just  such  study 
than  at  the  present  day.  To  the  professional 
photographer  we  can  recommend  Dr.  Wilson's 
book  as  one  of  those  that  should  certainly  be 
within  reach  for  reference,  as  it  is  full  of  the 
experience  of  the  best  photographers  at  home 
and  abroad.  For  the  amateur  it  contains  a  store 
of  photographic  and  artistic  information  we 
have  not  found  elsewhere,  and  it  will  lead  him 
into  many  interesting  experimental  regions  filled 
with  promises  of  discovery. — Anthony's  Photo- 
graphic Bulletin. 


Mosaics,  1866,  is  ready.   144  pages.    50  cents. 


The  Photographic  Beacon,  announced  in  our 
last  issue,  has  made  its  appearance,  dated  No- 
vember 1885.  It  is  edited  and  published  by  Dr. 
John  Nicol,  lately  from  Scotland,  an  able, 
genial  man,  and  perhaps  the  one  of  all  of  us  who 
has  the  longest  wielded  the  pen  in  behalf  of  our 
art.     It  is  monthly  ;  $2  a  year. 

The  Beacon  is  a  neatly  printed  twelve-page 
journal,  pages  somewhat  wider  than  this,  in  very 
fine  type,  and  is  filled  with  excellent  matter, 
sufficiently  varied  to  make  it  all  readable.  We 
welcome  our  co-worker,  and  wish  he  may  suc- 
ceed in  maintaining  the  position  he  sets  out  to 
uphold.  If  he  fulfils  all  the  promises  he  makes 
on  the  first  page  he  will  have  to  increase  the 
size  of  the  Beacon  ere  long.  His  office  is  at  the 
store  of  Douglass,  Thompson  &  Co.,  229  State 
St.,  Chicago,  HI.  Success  to  it  and  to  all  earnest 
advocates  of  our  art. 


MAKE  OUT  YOUR  OWN  BILL,  and  remit  cash  with  your  advertisements,  or  they  will  not  be 
inserted. 

ADVERTISING  RATES  FOR  SPECIALTIES.— Six  lines,  one  insertion,  $2.00,  and  25  cents  tor 
each  additional  line,  seven  words  to  a  line — in  advance.  Operators  desiring  situations ,  no  charge.  Mattel 
must  be  received  by  the  23d  to  secure  insertion.  Advertisers  will  please  not  ask  us  for  recommendations. 
45"We  cannot  undertake  to  mail  answers  to  parties  who  advertise.  Please  always  add  your  address  to  the 
advertisement.     Postage-stamps  taken. 


SEAVEY'S  NEW  YORK  NOVELTIES 

Seavey's  Snow- covered  Land- 
scapes, Ice  Effects,  and 
Cosy  Interiors. 

Lafayette  W.  Seavey, 
Studio,  216  E.  9th  St., 
New  York. 


Among  all  the  photographic  lenses  of  various 
makes  and  styles  which  have  been  introduced 
during  the  past  ten  years,  the  euryscopes,  of 
which  Voightlander  &  Son  are  the  sole  manu- 
facturers, loom  up  conspicuously.  The  success 
of  these  lenses  has  been  unparalelled,  and  the 
demand  is  as  lively  as  ever.  They  can  be  found 
in  nearly  every  gallery  in  the  land,  and  the 
amount  of  satisfaction  and  profit  they  produce 
is  difficult  to  calculate.  Most  convincing  proofs 
of  their  superiority  over  other  lenses  is  the  ex- 
quisite work  done  with  them,  and  the  fact  that 
it  is  simply  impossible  to  get  along  without 
them. 


For  Sale. — The  best  and  leading  gallery  in 
the  State.  For  particulars,  address  Box  423, 
Raleigh,  N.  C. 


Fob  Sale  at  a  Bargain. — A  fully  equipped 
gallery,  situated  in  a  town  of  6000  inhabitants, 
in  Western  Pennsylvania,  and  surrounded  by  a 
fine  farming  country.     Has  been  established  for 
fifteen  years,  and  has  a  splendid  record  for  first- 
class  work.     Correspondence  solicited.     Address 
"A.  B.C.," 
Philadelphia,  Pa. 
Care  Thomas  H.  McCollin. 


R0CKI00D  SOLAR  PRINTING  CO. 

1 7  Union  Square,  New  York. 

TIME. — It  is  our  intention  that  every  ordei 
received  in  the  morning's  mail  (when  not  to  be 
put  on  stretchers)  shall  leave  this  establishment 
the  same  day  or  the  following  morning.  If  too 
late  for  the  morning  work,  it  is  sent  on  the  sec- 
ond day.  Having  our  own  engine  and  electric 
light,  we  are  not  at  all  dependent  on  the  weather. 
GEORGE  H.  ROCKWOOD, 
Business  Manager. 


W.  F.  ASHE 

ARTISTIC    BACKGROUNDS 

AND 

ACCESSORIES, 

KEMOVED  TO  68  WEST  FOURTH  ST., 
4  Blocks  West  of  Broadway,  N.  Y. 

My  new  studio  is  fitted  up  with  all  the  mod- 
ern improvements,  and  the  most  refined  demands 
from  a  critical  public  can  be  satisfied.  A  visit 
to  my  establishment,  which  has  the  largest 
showroom,  containing  the  greatest  amount  of 
stock  of  any  place  in  the  world,  will  be  grate- 
fully appreciated. 

I  have  again  added  numerous  new  designs  to 
my  great  variety  of  patterns  for  backgrounds 
and  accessories,  and  keep  also  in  stock  a  large 
quantity  of  goods  for  parties  to  select  from, 
saving  time  and  delay  on  orders. 


410 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


"WILSON'S  PHOTOGRAPHICS. 

$4.00  $4.00 

The  Best. 


Look  into  it  foe  anything  yon  want ;  you 
are  pretty  sure  to  find  it.    The  Pho- 
tographers' Encyclopedia. 

Backgrounds!  Backgrounds!  Backgrounds! 
— I  undertake  to  paint  thein  for  photographers. 
Send  for  particulars. 

M.  H.  Albee, 
Marlboro,  Mass. 

PORTRAITS  IN  CRAYON. 
The  new   book    by   E.   Long,   on    the   art  of 
making  portraits   in  crayon   on   solar  enlarge- 
ments, covers  the  entire  ground,  and  is  sold  for 
the  low  price  of  fifty  cents.     For  sale  by 

Edward  L.  Wilson, 

Philadelphia. 

METAL  GUIDES 

FOR 

LINS,  SON  &  CO.'S 

A,  M.  COL.  "ELLED-EDGE    CAKES. 

Nb.-   26  GlLT  Be>  s  now  so  fashionable 

The  fapey-shaped  mounv  metal  guides  with 

among  photographers,  require.  They  are  now 

which  to  cut  the  photographs.     .  thefollow- 

kept  op  hand,  and  cap  be  supplied  in 
ing  shapes,  and  at  tbe  prices  mentioned 


^.ach. 
05 


Cro, 

Star 

Palette... 

Leaf 

Bell  , 

Crescent . 

Egg 

Triangle  , 


Ob 


*reet, 


For  sale  by  Edward  L.  W  <■■ 

1125  Che  ,stx  iut  b: . 
PI  m  1«^* 


Fine  India  ink  and  water-color  work  for  the 
trade;  all  work  finished  with  the  air-brush.  I 
was  the  first  artist  to  use  the  air-brush.  Send 
for  my  price-list.  You  can't  afford  to  be  with- 
out it.  Mrs.  E.  W.  Allen,  Artist, 
Freeport,  111. 


For  Sale  at  a  Sacrifice. — A  photograph 
gallery  in  the  town  of  Smyrna,  Delaware.  Rare 
chance,  the  owner  retiring  from  business,  which 
is  now  in  the  height  of  the  season.  Has  always 
paid.  Established  thirty  years.  Call  or  address 
M.  E.  Webb,  Box  83, 

Smyrna,  Del.- 


Gallery  to  Rent. — In  a  town  of  4000  inhab- 
itants, either  furnished  or  will  rent  the  gallery 
and  sell  the  outfit,  which  is  in  every  way  first- 
class — first-class  light,  fine  operating-  and  recep- 
tion-rooms and  office.  Terms  first-class  to  a  first- 
class  man.  Reason  for  selling  or  leasing,  too 
much  other  business  to  attend  to.     Address 

D.  Harris, 
Tyrone,  Pa. 


Mrs.  C.  W.  Clarke,  artist  in  water  colors, 
ink,  and  crayon,  has  returned  t©>  Philadelphia* 
and  wishes  to  inform  her  patrons  that  she  will 
be  pleased  to  receive  their  commissions  a&  he* 
residence,  No.  1926  N.  17th  St. 


For  Sale. — Photographic  studio  of  twenty' 
years'  standing,  having  first-class  custom  at 
high  prices,  corner  of  liveliest  av-eoue  in  New 
York.  Cause,  sickness.  With  or  without  appa- 
ratus,  Possession  immediately,  if  <J'*sired.  For-" 
particulars^  a$dre§g  Hermann  EaWe'r, 

Station  1),  New  York-. 


M.  WERNER, 
PORTRAIT    ARTIST, 

No.  102  N.  Tenth  Street,  Philadelphia. 
Piotographs  finished  in   crayon,    India  ink, 
wa.ter  colors,  and  pastel,  in  all  sizes,  in  the  very 
besft  §tj  les,  and  at  moderate  prices. 

8%  t  Prints  and  Enlargements  Furnished. 


*,  ihotographer   in    want   of    excellent 

fjy0#F    1  purpose,  will  best  serve  his  interest 

lenses,  fgj;  ta< 


by.  consult 

Messrs.  B,ej$. 
phasing. 


the  new  illustrated  price-list  of 
4.MIN   French   &  Co.    before  pur- 


THE    PHILADELPHIA    PHOTO  GKAPHEK. 


411 


CIROULAK  TO  THE  TEADE. 

I  hate  this  day  sold  to  Mr.  T.  H.  McAllister, 
49  Nassau  St,,  New  York  City,  my  entire  stock 
of  imported  lantern  slides,  and  have  transferred 
my  retail  business  to  him.  I  take  pleasure  in 
recommending  him  to  my  former  customers. 
They  will  find  in  his  establishment  the  largest 
and  best  assorted  stock  of  views  in  the  world, 
and  the  most  approved  styles  of  lanterns,  stere- 
opticons,  and  apparatus,  as  will  be  seen  by  a 
perusal  of  his  136  page  illustrated  catalogue, 
which  he  forwards  on  application. 

I  continue  to  manufacture  all  my  personally 
made  slides,  detailed  in  my  catalogue  on  pages 
15  to  37  inclusive,  and  also  the  following  series  : 

Centennial  Exhibition,  pages  46  to  48. 

Journeys  in  Foreign  Lands,  pages  63,  64. 

Switzerland  of  America,  page  78. 

Colorado  and  New  Mexico,  pages' 80,  81. 

Statuary,  pages  82  to  84. 

Thorwaldsen's  Statuary,  pages  86  to  91. 

Piton's  Foreign  Comiques,  page  96. 

Zoological  Garden,  page  97. 

Miscellaneous,  page  98. 

Clouds,  Snow,  and  Ice,  page  99. 

New  Dissolving  Views,  pages  122  to  134. 

Sold  to  dealers  in  slides  only — -plain,  or  colored 
by  Briggs.  I  continue  to  make  slides  for  ama 
teurs  and  lecturers,  to  order,  from  their  own 
negatives,  or  from  anything  that  can  be  photo- 


Slide  making,  plain  or  colored,  of  the  finest 
style  of  the  art — the  best  in  the  world.  All 
dealers  will  keep  my  slides  catalogued  above. 

Send  your  orders  for  special  slides  to  order 
direct  to  my  office. 

A  needed  slide  can  be  made  and  shipped  the 
day  the  order  is  received. 

My  facilities  are  unequalled  in  the  world. 
References — all  over  the  world,  and  twenty 
years  at  it.  Edward  L.  Wilson, 

1125  Chestnut  St., 
Philadelphia,  Pa. 

Philadelphia,  Sept.  1,  1885. 


CAMERA,  FIELD,  AND  BOOK. 

A  Magazine  Devoted  to  Out-and  In- 
door Literature  and  the  Camera. 

No  amateur  can  afford  to  do  without  it. 
Specimen  copy  free.  One. year,  $1.00  ;  6  months, 
50  cents;  three  months,  25  cents.  Send  silver 
or  currency  by  registered  letter  at  our  expense. 
Address  Camera,  Field,  and  Book, 

Bristolville,  Ohio. 


THE  STANLEY  PLATES. 

Chicago,  May  30,  1885. 
Messrs.  E.  &  H.  T.  Anthony  &  Co. 

Gentlemen:  I  have  tried  the  Stanley  Plate 
you  sent  me  lately,  and  I  am  quite  satisfied  that 
it  is  as  good  a  plate  as  I  could  wish  for,  working 
quick,  clear,  with  fine  details  and  beautiful 
roundness  of  image.  I  tried  different  developers 
on  them,  but  find  the  pyro  and  potash  to  give 
the  most  satisfactory  results. 

Yours  truly,  H.  Rocher. 

New  York,  June  8,  1885. 
Messrs.  E.  &  H.  T.  Anthony  &  Co. 

My  Dear  Sirs  :  The  four  dozen  Stanley  Plates 
I  had  from  you  last  week  were  all  that  could  be 
desired — rapid,  intense,  and  with  not  the  slight- 
est disposition  to  fog.  For  instantaneous  ex- 
posures of  steamers  under  full  headway,  I  gave 
1-50  of  a  second ;  for  reproductions  by  gaslight, 
5  seconds;  for  ordinary  negatives,  15  feet  dis- 
tant from  a  common  gas-burner,  and  the  contrast 
of  the  pure  white  and  black  is  remarkable.  I 
am,  very  truly  yours, 

J.  J.  Higgins,  M.D., 
23  Beekman  Place. 


•WILSON'S  PHOTOG-RAPHICS. 

All  about  emulsion  work  and  plate  mak- 
ing—a  whole  big  chapter.    See  index. 

$4.00  Buy  it.  $4.00 


Address  T.  W.  Power,  N.  Y.,  Secretary  of 
Association  of  Operative  Photographers  of  New 
York  City,  for  operators,  printers,  and  re- 
touchers 392  Bowery,  or  487  Eighth  Avenue. 


412 


THE    PHILADELPHIA    PHOTOGRAPHER. 


S  &  M. 

Caution. — The  genuine  and  original  S  &  M 
Extra  Brilliant  Paper  always  has  the  water 
mark  S  &  M  in  every  sheet. 

A  good  deal  of  paper  is  sold  with  merely  the 
stamp  in  the  corner.  This  may  be  good,  and  it 
may  not,  according  to  what  paper  is  used  by  the 
parties  who  want  to  work  it  off  by  putting  on  a 
stamp  that  has  a  reputation. 

Look  through  the  paper  for  the  water  mark. 
E.  &  H.  T.  Anthony  &  Co. 


THE  PLATINOTYPE  (Patented). 

Send  ten  cents  for  instructions  and   sample, 
portrait  or  landscape. 

WILLIS  &  CLEMENTS, 

25  North  Seventh  St.,  Philadelphia,  Pa. 

BUCHANAN,  SMEDLEY  &  BROMLEY, 

General  Agents  for  the  sale  of  materials. 


For  Sale  Cheap. — The  best  photo  wagon  in 
the  country.     Address 

W.  W.  Silver, 
102  Fulton  St.,  New  York. 


For  Your  Advertising,  try  "  A  Quiet  Chat 
on  the  Prices  of  Photographs,"  by  the  Chief 
Photographer,  to  his  patrons. 

This  little  leaflet  has  been  compiled  with  the 
view  of  helping  you  to  raise  your  prices.  Look 
it  over  carefully  and  see  if  you  cannot  make  it 
serve  you  a  good  purpose.  Nerve  yourself  up 
in  the  matter.  Make  the  effort  and  you  will 
succeed. 

You  can  have  whatever  you  want  on  the  first 
and  fourth  pages  of  the  cover  without  extra 
charge.  Add  your  new  scale  of  prices,  and  get 
advertisements  to  help  pay  you.  The  rest  is 
stereotyped. 

Prices. 

1000  copies  ....  $15.00 

3000      "  ....     36.00 

5000      "  ....     50.00 

Send  for  sample  copy.  It  will  help  keep 
prices  up. 

Edward  L.  Wilson,  Publisher, 
1125  Chestnut  St.,  Philadelphia. 


Gilbert's  rapid  albumen  and  plain  paper  for 
making  solar  prints  from  strong  contact  nega- 
tives:  supplies  the  place  of  large  and  expensive 
lens  and  apparatus,  plates,  etc.  These  prints 
are  equal  to  contact.  Address,  with  stamp, 
E.  A.  Gilbert, 

Jamestown,  N.  Y. 


Manufacturers  and  furnishers  of  engines, 
tools,  and  materials  for  the  production  and  in- 
dustrial use  of  paper,  who  would  like  their  arti- 
cles to  be  known  in  Russia,  are  informed  that, 
from  the  beginning  of  1886,  there  will  be  issued 
an  especial  Russian  newspaper,  Paper  and  its 
Vie,  devoted  to  the  paper  business.  Advertising 
rates,  one  rouble,  or  two  shillings,  for  five  lines 
nonpareil,  type  measure;  or  the  same  amount 
of  space  with  a  suitable  abatement  if  repeated. 
Advertisements  are  translated  gratis.  A  very 
large  quantity  of  the  first  number  of  the  paper 
will  be  sent  to  paper  manufacturers,  stationers, 
printers,  lithographers,  booksellers,  photog- 
raphers, binders,  manufacturers  of  paper  hang- 
ings, and  other  industrials,  using  paper  in 
Russia.  Advertisements  for  this  first  number 
are  accepted  till  the  25th  of  November,  in  the 
office  of  Paper  and  its  Use,  St.  Petersburg,  Rus- 
sia, 421  Kassanskaja;  Aug.  Nanmann,  editor. 


List  of  Articles  for  Sale  and  Prices  for 
Same. — All  cameras  in  list  are  American  Optical 
Company's  best  quality.  Used  by  Edward  L. 
Wilson  at  the  New  Orleans  Exhibition  : 

Bach. 

1  Hinged  Tripod 3  50 

4  14  x  17  New  Style  Dry-plate  Holders,     9  00 

2(1    5  x  8  "  "  "1  35' 

2  14  x  17  Flat  Printing  Frames     .         .2  00 
36    5  x  8  "  "      $45  per  100         50 

6  Drying  Racks 30 

Cash.     All  guaranteed  in  good  order. 
Address  Edward  L.  Wilson, 

1125  Chestnut  Street, 
Philadelphia,  Pa. 


SITUATIONS  WANTED. 

No  chargefor  advertisements  under  this  head;  limited 
to /our  lines.     Inserted  once  only,  unless  by  request. 

By  an  operator,  who  is  a  good  retoucher. 
Can  also  print.  Good  references.  Address 
Howard  H.  Stern,  Lambertville,  N.  J. 

As  retoucher  and  colorist.  Salary  moderate. 
Samples  and  reference  furnished.  Address  R. 
L.  Keeling,  Harrisburg,  Pa. 

As  retoucher  and  reception  lady  in  a  first-class 
gallery,  by  a  young  lady  of  good  address.  Ad- 
dress Miss  Ida  Powers,  Portsmouth,  Ohio, 

By  a  young  man  of  good  habits.  Viewing,  or 
in  a  gallery.  Address  Lock  Cox  762,  Honesdale, 
Pa. 


THE    PHILADELPHIA    PHOTOGEAPHEP. 


413 


A  first-class  operator,  who  thoroughly  under- 
stands the  business,  wet  or  dry,  fifteen  years' 
experience,  wishes  to  make  a  change.  Address 
W.  A.  Van  Deroof,  Newton,  Sussex  Co.,  N.  J. 

As  printer,  toner,  and  assistant  operator. 
Three  years'  experience.  Would  work  one 
month  on  trial.  Wages  to  suit  the  times.  Ad- 
dress Box  115,  Strathroy,  Ontario,  Canada. 

By  a  young  lady  as  retoucher  and  finisher  in 
artistic  work.  Thoroughly  acquainted  with  all 
the  routine  of  a  gallery ,■  can  also  mount,  print, 
and  tone.  Wages  moderate.  Address  Lillie  E. 
James,  186  Regent  St.,  Saratoga  Spa,  N.  Y. 

By  a  first-class  retoucher,  of  good  habit, 
strictly  temperate;  a  permanent  situation.  Can 
operate  and  assist  in  all  branches  of  the  art. 
Address  Wm.  Kesten,  Hoosick  Falls,  New  York. 

As  operator  in  a  first-class  gallery.  Large 
experience  in  best  galleries.  Samples,  etc.  Ad- 
dress A.  J.  Sanders,  care  Box  578,  St.  Louis 
Post-Office,  Mo. 


By  a  first-class  retoucher.  Understands  the 
business,  and  can,  if  necessary,  assist  in  other 
branches.  Terms  moderate.  For  particulars, 
address  Miss  L.  M.  A.,  1024  Eddy  St.,  Provi- 
dence, B,.  I. 

By  a  first-class  printer  and  toner.  Best  of 
references.  Address  F.  S.  Egrit,  Port  Jervis, 
New  York. 

A  prominent  operator  desires  to  correspond 
with  leading  galleries  in  regard  to  situation  or 
lease  of  a  gallery.  Address  T.  M.  W.,  care  of 
H.  P.  Rolfe,  artist,  1123  Chestnut  St.,  Philadel- 
phia. 

By  a  first-class  operator,  who  can  also  work 
at  other  branches.  Experience  of  eight  years. 
Address  C.  R.  Clarke,  Box  42,  White  Bear  Lake, 
Minnesota. 

As  operator  in  a  first-class  gallery,  by  a  young 
man  who  thoroughly  understands  all  branches 
of  the  business.  Address  C.  H.  Mills,  144  Pearl 
St.,  New  York. 


The  Finest  Negatives  of 

FLOOD  ROCK  EXPLOSION  at  HELL  GATE 

WERE  MADE  ON 


The  RIPLEY"  PJjATiD  is  the  Plate  upon  which  absolute  reliance  can  be  placed.  Only  the 
finest  glass  obtainable  is  used  in  their  manufacture,  selected  of  unifor>7i  thickness,  and  cut  to  exact 
size.  The  most  extreme  care  is  taken  to  render  them  both  mechanically  and  technically  perfect. 
They  are  consequently  the  only  really  cheap  plate  in  market,  and  are  absolutely  indispensable  alike 
to  professional  and  amateur  photographers  who  desire  to  produce  the  finest  possible  pictures. 

BUCHANAN,  SMEDLEY  &  BROMLEY, 

General  Agents  for  Phila.  No.  25  North  Seventh  Street. 

F.  DRESCHER  &  OO.'S 

Improved  Gelatine  for  Emulsion. 

■*■  (HARD  AND  SOFT  QUALITY.) 

We  beg  to  request  our  friends  to  give  us  their  orders  for  supply  during  the  winter.  The  steadily 
increasing  demand  for  this  celebrated  make  is  a  proof  of  its  superiority  over  all  other  products. 
It  has  no  rival,  and  is  specially  known  for  its  purity  and  fine  body. 

Write  for  samples  for  trial.  Obtainable  of  the  SCOVILL  MFG.  CO.,  New  TorJc, 
or  direct  from  the  manufacturers, 

F.  DRESCHER  &  CO.  GELATINE  WORKS, 

Oberndorf-Schweinfurt-on-Main,  Germany. 


414  THE    PHILADELPHIA    PHOTOGRAPHER. 


OFFICE  OF 


G,  CRAMER  DRY  PLATE  WORKS, 


ff^ ■*' »-3> 3> sj-* =#- 


Shenandoah  and  Buena  Yista  Sts., 
ST.  LOUIS. 


The  demand  for  the  Cramer  Plates  having 
outgrown  our  capacity,  we  have  been  compelled 
to  enlarge,  and  are  now  erecting  large  additions 
to  our  works  which  wdl  more  than  double  our 
present  capacity,  and  we  hope  soon  to  be  able 
to  supply  our  friends  regularly  and  promptly. 

Thanking  the  fraternity  for  their  kind  support, 
we  ask  their  indulgence  for  a  short  time  longer. 

Fraternally, 

G.  Cramer  Dry  Plate  Works. 

St.  Louis,  November  23,  1885. 


THE   PHILADELPHIA   PHOTOGEAPHER. 


415 


GAYTON  A.  DOUGLASS. 


HENRY  G.   THOMPSON. 


Douglass,  Thompson  &  Co. 

229  &  231  State  St,  Chicago,  111. 

MERCHANTS  IN  SUPPLIES  FOE  THE 

Art-Soienoe  of  lE^lxofcosr^X^to-y 

Photographers'  Booksellers,  Stationers,  and  Newsdealers. 


CARBUTT'S 

Keystone  Dry  Plates 

AND  PHOTOGRAPHIC  SPECIALTIES. 

Specials  for  Portraiture. 

A.  for  Transparencies. 

B.  for  Landscapes  and  General  Pho- 
tography. 


OPAL    PLATES,   Gelatino- Albumen  or  Gelatino- 
Chlorides,  for  Positives  and  Transparencies. 


0?Prt.S^ 


Multum  in  Parvo  Dry-Plate  Lantern. 

Carbntt's  Pyro.  and  Potash  Developer,  Concentrated, 
Two  8oz.  bottles  75  cents. 

Enby  Paper  and  Negative  Varnish. 


FOE  SALE  BY  ALL  DEALERS. 


JOHN  CARBUTT,  Keystone  Dry-Plate  Works, 

Wayne  Junction,  Philadelphia,  Pa. 

HODGE   &  HUSTON,         ~~ 

THE    SOLAR   PRINTERS, 

622  ARCH  STREET,  PHILADELPHIA. 
PERMANENT  PRINTS  BY  THE  PLATINUM  PROCESS. 
ELECTRIC  LIGHT. 


416  THE    PHILADELPHIA    PHOTOGBAPHEB. 

Beck's  Autograph  Rectilinear  Lenses. 


These  extraordinary  lenses  at- 
tracted universal  attention  at  the 
late  Buffalo  Convention  ;  the  speci- 
mens of  work  in  Portraiture, 
Groups,  Landscapes,  Instantaneous 
Views,  etc.,  executed  by  them  trting 
of  unequalled  excellence.  A  life- 
sized  head,  made  with  the  8  x  10 
lens  of  13  inches  focus,  was  con- 
sidered by  the  experts  present,  as 
being  far  ahead  of  any  similar  per- 
formance ever  seen.  A  full  de- 
scription of  these  and  our  other 
specialties  will  be  found  in  our  full 
catalogue.     Mailed  Free. 


W.  H.  WALMSLBY  &  CO., 

Photographic  Stockdealers.  1016  Chestnut  St.,  Phia.,  Pa. 


Relief-Border  Flexible  Negatives. 


FRENCH'S 


ORNAMENTAL 


Three  New  and  Elegant  Designs 

for  the  HOLIDAY   SEASON  of  isss-e. 


Far  superior  to  negatives  on  glass.  Will  not  break,  are  flexible,  durable,  and 
permanent.  Print  quickiy,  soft,  and  brilliant.  Each  negative  suitable  for  three 
sizes  of  pictures :  CABINET,  PROMENADE,  and  PANEL. 

All  three  negatives  in  one  clasp  envelope,  by  mail,  to  any  address  for  $2.25. 

They  will  not  be  sold  singly.     Nearly  all  dealers  in  photographic  materials  will  keep 

Patented      ^q^  negatives  and  sample  prints  in  stock.     Sample  prints  furnished  free  on  appli- 

Copyrighted    cation.     Send  to  your  dealer,  or  to 
Aug.,  1885. 

Inventor  and  Manufacturer, 


Formerly  of  Garrettsville,  Ohio. 


ONEONTA,  N.  Y. 


THE  PHILADELPHIA  PHOTOGRAPHER 


417 


720  (5  gross)  of  these  trimmers  were  sold  to  one  party  in  July. 

ROBINSON'S 
NEW  MODEL 


PHOTOGRAPH  TRIMMERS ! 


bo    U  u 

-O     £  O 

•-  £  .2 

j-  a  — 

^  £  .a 

•S  <o 


These  invaluable  instruments  are  already  used  all  over  the  country,  and 
now,  a  change  of  form  having  permitted  an  immense  reduction  in  price, 
they  must  soon  be  UNIVERSALLY  USED  as  they  afford  a  quicker, 
better,  and  less  expensive  means  of  trimming  photographs  than  any  other. 
The  inventor  assures  photographers  that  his  trimmers  can  be  used  with 
greater  ease  when  held  as  indicated  in  the  drawings  below.  These  trim- 
mers are  now  made  entirely  of  metal,  and  in  quality  are  fully  equal  to  those 
of  the  old  model.  They  answer  for  oval,  round,  arch  top,  and  square 
work. 


Plan  of  holding   the  Straight    Cut  Trimmer 
when  in  use.     PRICE,  50   CENTS. 


Plan  of  holding  the  Revolving  Trimmer  when  in 
use.     PRICE  (with  one  card  guide)  $1.00. 


OVALS. 

2x2£ 

3|x4f 

5x7 

6Jx8|- 

2|x3i 

3fx4f 

5£x7i 

6£x8£ 

2£x3^ 

^x^ 

5£x7£ 

7x9 

2fx3f 

3fx5£ 

5fx7| 

7£x9i- 

2fx3f 

4x5| 

5fx7| 

7£x9£ 

2£x4£ 

4|x6| 

6x8 

7|x9f 

II^SOKTS     OUIDE3S. 

MADE  OF   SHEET-IRON. 
We  have  the  following  Regular  Sizes  always  on  hand  at  io  cents  per  inch  the  longest  way  of 
the  aperture. 

SQUARE  OR  ROUND  CORNERED. 

2TVx3f  2T\x3|  2fx4£  4x5| 

2£x3f  2T^x3t  2|.x4|        4£x51 

2£x3£  2fx4i  3£x5|-        3|x6 

2Ax8H  4x6^ 

FOR  STEREOGRAPHS. 

Arch  Tops.  Round  Cornered.  Round. 

3TVx3|,  3x3         3TVx3f,  3x3  3x3 

The  above  sizes  suit  the  Collins  Card  Mounts,  and  photographers  knowing  that  they  can  be 
always  had  at  the  low  price  of  ten  cents  per  inch,  would  do  well  to  make  their  sizes  accord,  as 
orders  can  also  be  filled  more  quickly.     Ten  days  are  required  to  make  special  sizes. 

Special  Sizes  made  to  order,  at  15  cents  per  inch,  the  longest  way  of  the  aperture. 

ROBINSON'S  PHOTOGRAPH  TRIMMERS  are  substitutes  for  the  Knife  for  Trimming 

Photographs,  and  do  the  work  much  more  expeditiously  and  elegantly. 

They  Save  Time,  Save  Prints,  and  Save  Money. 

They  do  not  cut,  but  pinch  off  the  waste  paper,  and  leave  the  print  with  a  neatly  beveled  edge 
which  facilitates  adherence  to  the  mount.  Try  one,  and  you  will  discard  the  knife  and  punch  at 
once.     For  ovals  and  rounded  corners  they  are  worth  their  weight  in  gold. 

InvSlnl  EDWARD  L.  WILSON,  Manufacturer's  Agent,  1125  Chestnut  St.,  Philada. 

4 


418 


THE    PHILADELPHIA    PHOTOGEAPHEE. 


^ 


THE    MOUND    OXTY 


?? 


Photographic  Stock  House 


Offers  the  Most  Complete  line  of 

Photographic    Apparatus,    Chemicals, 

Picture  Frames,  Mouldings,  Mats, 

Albums,   Etc.,   in   the    market, 

at  bottom  prices. 

Professional  and  Amateur  Outfits  a  Specialty. 

AGENT  FOR 

KCHN'S  LIGHTNING  BEY-PLATE  INTENSIFIED 

AND 

KUHN'S  SENSITIZED  PAPER  STRETCHER  AND  DRYER. 

Address 

H.  A.  HYATT, 

8th  &  Locust  Sts., 

ST.  LOUIS,  MO. 


Send  for  Illustrated  Catalogues  of  Photographic  Goods  and  Picture  Frames. 

ALBERT  MOORE  ™  SOLAR  ENLARGED 

THE  LONGEST,  LARGEST,  AND  BEST. 

828  Wood  Street,  Philadelphia. 

PHOTOGRAPBISCHE  MITTHEILUNGEN. 


We  are  now  prepared  to  receive  subscriptions  for  Dr.  Hermann  W.  Vogel's  magazine  bearing 
the  above  title. 

The  MITTHEILUNGEN  is  published  in  German  and  is  issued  semi-monthly  at  $3.00  per  year, 
postage  paid.  To  all  of  our  German  photographers  and  many  others  this  will  be  considered  a 
desirable  opportunity. 

The  Magazine  is  published  at  Berlin.     Subscriptions  received  by 

EDWARD    L.   WILSON, 

1125  Chestnut  Street,  Philadelphia,  Pa. 


THE    PHILADELPHIA    PHOTOGKAPHEK.  423 


No.  54  East  Tenth  Si  New  York. 

SOLE  IMPORTER  OF 

C.  BOHMKE  &  CO.'S  IMPROVED  APLANATS. 

THE  BEST  LENSES  FOR  PORTRAIT,  RAPID  LANDSCAPES 
AND  GROUPS  YET  INTRODUCED. 


Mr.  Bohmke,  who  has  been  superintending  foreman  for^Voigtlander  &  Son  for  25 
years,  has  lately  brought  out  the  above  designated  instrument,  which  is  in  every 
respect  equal,  if  not  superior,  to  the  "Euryscope,"  combining  a  large  field,  perfect 
definition  and  brilliant  illumination  in  the  highest  possible  degree. 

.  ^BS  F.  MAGEE  &  0q 


MANUFACTURERS  OF  PURE 


Photographic  Chemicals, 

Jio.  622  pace  Street,  Philadelphia. 

g^g^-  The  Standard  Quality  and  Purity  of  our  Chemicals  make,  them  the  most 
desirable  and  reliable  for  photographic  use. 


-Ǥ==*+ STOCKDEALERS  ONLY  SUPPLIED.+e=#- 

PPFIJIPPS  of  GOJJ)  and  SIJ^Yfip  WASJP- 

Waste  sent  through  Stockdealers  will  receive  prompt  attention.' 


424      THE  PHILADELPHIA  PHOTOGEAPHEE. 


A    GREAT  SUCCESS! 

THE 

NEW  DRESDEN  ALBUMEN 


THREE  GROWN  PAPER 


^SSeMa^ 


For  Sale  by  all  Photo.  Stockdealers. 
SCOYILL  MANUFACTURING  CO., 

NEW  YORK. 


THE    PHILADELPHIA    PHOTOGRAPHER. 


425 


On  and  after  March  1st,  I  will  make  the  following  Reduction : 


3^x4^ 

4  x5 
4*  x5/2 

5  x  7 


.  $    45 

5   x8 

.  $1   25 

14x17 

65 

6^x8^ 

1  35 

16  x  20 

.         75 

8   x  lO 

2  40 

17x20 

90 

lO  x  12 

3  80 

18x22 

1  10 

11  x  14 

5  00 

20  x  24 

$9  OO 

12  50 

13  00 
15  50 
18  50 


CRAMER'S  LIGHTNING  PLATES. 


-*{,. 2/g 


TO  MEET  THE  DEMAND  FOB 

An  Extremely  Rapid  Plate 

lam  now  making  the  above  new  brand  (blue  label),  which  is  about  twice  as  rapid 
as  my  "Extra  Rapid"  and  nearly 

TWENTY  TIMES  MORE  RAPID  THAN  COLLODION. 


THIS  NEW  PLATE  COMBINES 

EXTREME  RAPIDITY, 

FINE  CHEMICAL  EFFECT, 

PERFECT  CLEARNESS, 

GOOD  INTENSITY, 

EASY  TO  DEVELOP, 

And    CANNOT    BE    EXCELLED. 


For  all  cases  where  Extraordinary  Rapidity  is  desirable  and  for  Large 
Work  these  "Lightning  Plates"  will,  upon  trial,  prove  their  superiority  over 
all  others. 

My  regular  brand,  the  "Extra  Rapid"  (yellow  label),  which  is  so  well 
known  and  sufficiently  sensitive  for  general  use,  will  be  kept  up  to  its  usual  high 
standard. 

BOTH  BRANDS  SAME  PRICE. 

WILL    BE    FOR    SALE    BY    ALL    DEALERS. 


DRY-PLATE  WORKS,  ST.  LOUIS,  MO. 


426  THE    PHILADELPHIA    PHOTOGEAPHER 


GIHON'S 

CUT-OUTS 

An  Entirely  New  Variety  for 

Prmhg  Medallion  Pictures. 


Are  the  very  best  that  are  made,  and  are  now  without  a  rival  in  the  market.  They  are  clean 
cut,  most  desirable  shapes  and  sizes,  and  made  of  non-actinic  paper,  manufactured  specially  for  the 
purpose.  Each  package  contains  30  Cut-Outs,  or  Masks,  with  corresponding  Insides,  assorted  for 
five  differently  sized  ovals  and  one  arch-top. 

Price,  $1.00  per  Package.    Sent  by  mail  on  receipt  of  price. 

Parties  wishing  special  sizes,  or  large  lots  of  a  few  sizes,  may  have  them  cut  to  order  promptly, 
by  addressing  the  manufacturer.      No  lot  costing  less  than  $1.00  made  at  a  time. 
^*No  printer  should  attempt  to  make  Medallion  Pictures  without  them. 

They  Have  no  Equal  for  Quality. 

Beware  of  spurious  imitations  made  of  common  paper,  full  of  holes,  badly  cut,  and  odd  shapes  and 
sizes.  Ask  your  Stock-dealer  for  GIHON'S  CUT-OUTS,  and  see  that  they  are  in  his  envelope,  with 
instruction  circular  included.  The  recent  packages  are  composed  of  an  entirely  new  variety  and  ot  a 
new  paper.     TRY  THEM. 

Promenade  Size  now  Keady,        Sold  Separately  at  50  cents  per  Dozen. 


GIHON'S  OPAQUE 

Is  designed  for  Completely  obscuring  the  Imperfect  Backgrounds  of  Copies,  Retouching  Nega- 
tives, Faulty  Skies  in  Landscapes,  Coating  the  Inside  of  Lenses  or  Camera  Boxes, 
Backing  Solar  Negatives,  Covering  Vignetting  Boards, 
And  for  Answering  all  the  Requirements  of  the  Intelligent  Photographer  in  the  Production 

of  Artistic  Results  in  Printing. 

Wherever  you  want  to  keep  out  Light,  use  Opaque. 

IT  IS  APPLIED  WITH  A  BRUSH,  DRIES  QUICKLY  AND  STICKS. 


CUT-OUTS  (thirty),  $1.00.         OPAQUE,  50  Cents. 

FOR  SALE  BY  ALL  DEALERS. 


Address  all  orders  to 

SCOVILL  MANUFACTURING  CO.,  New  York. 


THE    PHILADELPHIA    PHOTOGEAPHEE.  427 

BEST 


^    UKt-SD^JV 


EXTRA  IfWl  BRILLIANT 

Ever  Offered  to  Photogkaphers. 

WHITE,  PINK,  PENSE. 


FREE  PROM  BLISTERS  AND  IMPERFECTIONS. 


A  NEW  PAPEE.    NOW  READY.    . 

EAGLE  SATIN  FINISH, 

IN  PENSE  AND  PEARL. 

Although  my  importations  of  paper  have  had  a  most  satisfactory  sale,  and  the  old  favorite 
brands  will  be  continued  in  the  market  of  the  same  quality,  I  have  a  New  Brand,  which  I  offer 
for  public  favor  which  I  believe  to  be  SOMETHING-  SUPERIOR. 

^$36.00  A  REAM.^a       ®^A  REAM  $36.00.^ 

FOB  SALE  BY  ALL  DEALEBS. 

IMPORTED  BY 

G.  GENNERT, 

54  E.  TENTH  ST,  NEW  YORK. 


FOR   SALE   BY    ALL.   DEALERS. 


428  THE    PHILADELPHIA    PHOTOGRAPHER. 

A.  M.  Collins,  Son  &  Co. 

MANUFACTURE  ALL    KINDS    OF 

CARDS  AND  CARDBOARDS 

FOE 

HOTOGRAPHER 

AND 

MATS,  MOUNTS,  AND  ENVELOPES 

FOE 

FERROTYPES. 


OFFICE  AND  WAREHOUSE, 

No.  527  ARCH  STREET, 

PHILADELPHIA. 


Price  Lists  may  be  had  by  intending  purchasers  on  application 

to  us,  or  to  all  Photographic  Merchants,  through  whom 

your  favors  are  respectfully  solicited. 


THE    PHILADELPHIA    PHOTOGKAPHEK. 


429 


T3FLY     THEM! 


WAYMOUTH'S  VIGNETTE  PIPERS. 

No.  15H, 

THE 

Ormsty  Patten, 


PEAR  SHAPE 

Now  Ready, 

$1.00  PER  DOZ. 

They  are  not  clumsy;  do  not 
break;  are  always  ready ;  cost 
but  little,  and  are  easy  of  appli- 
cation to  any  negative.  They 
need  but  one  adjustment  to  print 
any  quantity.  They  entirely 
do  away  with  all  the  old  and 
troublesome  methods,  either 
wood,  metal,  or  cotton. 


19  Sizes 


Now  Made 

PEAR  SHAPE. 

Prices  Below. 

SEE  TESTIMONIALS. 


They  are  printed  in  black 
for  ordinary  negatives,  yellow 
bronze  for  thin  negatives,  and 
red  bronze  for  still  weaker  ones. 
Directions  for  use  accompany 
each  parcel. 


SEE  WHAT  THOSE  WHO  USE  THEM  SAY. 

The  Vignette  Papers  are  just  the  thing.  They  are  a  great  improvement,  and  will  print 
in  little  more  than  half  the  time  required  for  others.  The  results  are  everything  that  can 
be  desired,  as  you  can  see  by  samples  inclosed.  E.  D.  ORMSBY,  San  Francisco. 

FROM  PROFESSIONAL  AND  AMATEUR  PHOTOGRAPHERS. 

"  First-class." — "  The  sample  sent  answers  perfectly." — "  I  consider  them  first-rate  articles." — "  They  answer  the 
purpose  admirably." — "  They  are  the  best  vignettes  I  have  ever  had,  and  as  you  can  print  in  lull  sunlight,  they  are  a 
great  saving  of  time." — "They  could  not  be  better,  oblige  me  with  another  packet." — "  I  find  them  excellent,  giving 
much  softer  pictures  than  the  old  way." — '*  I  have  tried  one  of  the  Vignette  Papers,  and  like  it  much ;  send  me 
packets  two  and  three." — "  I  am  much  pleased  with  them,  and  shall  thank  you  to  send  meanotfter  packet." — "I  did 
not  need  any  copies  of  testimonials,  having  well  known  by  experience  that  your  Vignette  Papers  were  superior  to 
anything  I  have  ever  used." — "  I  found  those  you  sent  before  excellent." — "  Vignetting  Papers  received  and  tested ; 
can't  be  beat._  I  use  by  cutting  an  opening  in  a  piece  of  card-board  and  tacking  to  the  printing-frame,  when  I  am  ready 
for  printing  vignettes  in  the  very  best  manner." — "  Waymouth  Vignette  Papers  I  have  tried,  and  they  are  just  what  I 
have  been  wanting  for  years." 

THOSE  WHO  SELL  THEM! 


ALL  STOCK-DEALERS 


INCREASE 
THEIR 


ORDERS  LARGELY 


EVERY 
MONTH 


Better  than  any  patent  machine— trouble,  and  sell  better  every  month. 

PRICES: 

In  parcels  containing  one  dozen,  assorted,  from  Nos.  1  to  5 $0  50 

In  parcels  containing  one  of  each  size,  Nos.  1  to  15,  assorted  colors 1  00 

Assorted  sizes  and  colors,  by  number,  per  package  of  15 1  00 

Nos.  1,  2,  3,  4,  and  5,  assorted  sizes  and  colors,  lor  Cartes,  by  number,  per  doz 50 

»     6,  7,  11,  12,  and  13,    »          »                  »       Large  Cartes  and  Victorias  by  number,  per  doz 75 

»     8,  9,  10,  14,  15,  and  15 J£,  assorted  sizes  and  colors,  Cabinets  and  Whole-size,  by  number,  per  doz 1  00 

»     16,17,18,                                »                 »            ,,       Half           »               »                    »               »       125 

When  ordering,  state  the  number  and  color  you  want. 

EDWARD  L.  WILSON,  Manufacturer,  1125  Chestnut  St.,  Philad'a. 

FOR  SALE  BY  ALL  DEALERS. 

No.  18,  PEAR  SHAPE,  LAST  INTRODUCED,  $1.25. 


430 


THE    PHILADELPHIA    PHOTOGEAPHEH 


JOHN  G.  HOOD. 


ESTABLISHED    1865. 


WM.  D.  H.  WILSON. 


.  soN,   H°OD.  & 

\*J  \  »^  825  Arch  Street,  v>  Q 

PHILADELPHIA, 

SOLE  AGENTS  IN  THE  UNITED  STATES  FOR  THE 


Centennial,  1876. 


Centennial,  1876. 


Ross'  Portrait  and  View  Lenses. 


"WE  HAVE 

NOW 
IN  STOCK 


Portrait  Lenses,  from  l-4r  to  8  x  10. 

Cabinet  Lenses,  Nos.  3  and  3. 

Card  Lenses,  Nos.  1,  3,  and  3. 
|    Triplets,  Nos.  1,  3,  3,  4,  5,  6,  and  7. 
[  S y  in  metrical  s.    Rapid  Sj-nt  metrical  s. 


Instantaneous  Doublets,  all  sizes. 
Medium  Angle  Doublets,  all  sizes. 
Large  Angle  Doublets,  all  sizes. 
Stereographic  Lenses,  all  sizes. 
New  Universal  Lens. 


Numerous  testimonials  pronounce  them  to  be  the  best  as  well  as  the  cheapest  Foreign  Lenses  ever 
offered  to  the  American  Photographer.    "We  will  mail  price  list  on  application,  and  promptly  fill  all  orders. 


Steinheil's  Sons 


'    —NEW*— 
APLANATIO 


Lenses. 


We  now  have  a  full  stock  of  these  Celebrated  Lenses,  at  the  following  prices  . 


No.  1—  1-4:  size, 3%  incb  focus, $35  00 

»    3—  1-3      »       5i/        »  »        30  00 

»    3—  4-4      »       7  »  »        45  00 


No. 


4—8x10  size,...  1.0#  inch  focus,. ..$60  00 

5—10x13      »       ...13%       »  »     70  00 

6—13x16      »      ...16/       »  »     ....110  00 

Nos.  1  and  3  are  in  matched  pairs  for  stereoscopic  work. 

We  feel  sure  that  at  least  one  of  these  lenses  is  needful  for  the  successful  prosecution  of  your  busi- 
ness, and  so  solicit  your  orders.  Always  in  stock,  to  suit  above  Lenses,  CAMERA  BOXES  made  by 
AMERICAN  OPTICAL  CO.,  SEMMENDINGER,  ANTHONY,  BLAIR,  etc. 

WE  KEEP  IN  STOCK  FULL  ASSORTMENT  OF 

AMATEUR  PHOTO.  OUTFITS 

DRY    PLATES    OF   ALL    MAKES. 

N.  P.  A.  EAGLE  and  S.  &  M.  PAPER,  PER  REAM,  $32.00. 

Any  article  needed  we  can  supply,  as 
WE  MANUFACTURE,  IMPORT,  AND  DEAL  IN  ALL  KINDS  OF 

Photo.  Goods,  Frames,  Stereoscopes  and  Views, 

At  prices  as  low  as  are  consistent  with  the  quality  of  goods  furnished.  We  are  indebted  to  our 
customers  for  the  patronage  during  the  past  Nineteen  Years,  and  our  efforts  shall  be  to  merit  a  con- 
tinuance of  it. 

Illustrated  Price  Lists  supplied  free.    Correspondence  solicited. 


Our  Points  for  1886. 


THIS  MAGAZINE  WILL  BE  CONTINUED. 

It  will  be  issued  Semi-monthly  at  the  old  price, 

$5.00  a  year. 


Several  new  features  will  be  introduced.  Its  twenty- two-year  editor  is  engaged 
for  1886.  His  personal  close  care  will  be  given.  It  will  continue  to  be  "the  best 
of  its  class."  It  will  pay  the  reader  better  than  any.  Every  active  or  amateur 
not  reading  it,  loses. 

THE  PHILADELPHIA  PHOTOGRAPHER  intends  to  help  the  photographer; 
to  inform  him  of  what  the  stock-dealer  and  manufacturer  has  to  sell ;  to  carefully 
criticise  when  necessary;  to  warn  the  craft  against  impositions;  to  instruct  the 
beginner;  to  interest  the  skilled  employee;  to  keep  the  employer  informed  as  to 
the  many  changes  and  wondrous  improvements  in  our  most  useful  art ;  to  promote 
a-healthful  feeling  among  all  those  connected  with  it;  to  represent  the  interests 
of  all,  and  to  secure  a  living  for  the  editor  who  has  served  the  craft  for  so  long  a 
time. 

In  all  these  we  look  for  the  support  and  good-will  which  has  followed  the 
career  of  our  magazine  for  nearly  a  quarter  of  a  century,  and  we  look  for  it  all 
the  more  confidently  because  it  is  not  published  by  a  stock-house,  or  at  a  stock- 
house,  or  for  a  stock-house.  If  it  was,  it  need  not  necessarily  be  ruined ;  but  to 
publish  a  photographers'  magazine  and  to  keep  up  a  first-class  standard  of  excel- 
lence we  must  charge  more  than  when  it  is  used  to  push  merchandise.  Under- 
stand ? 

EDWARD  L.  WILSON,  Editor,  Publisher,  and  Proprietor,  1125  Chestnut  St.,  Phila. 


NOTICE   TO    SUBSCRIBERS. 


In  remitting  by  mail ,  a  post-office  or- 
der, or  draft,  payable  to  the  order  ot 
Edward  L.  Wilson,  is  preferable  to 
bank-notes.  Postage  stamps  of  the 
denomination  of  two  and  five  cents 
each  will  be  taken.  Clearly  give  your 
Post-Office,  County,  and  State. 

Foreign  subscriptions  must  be  ac- 
companied by  the  postage  in  addi- 
tion. 


ADVERTISING  sheets  are  bound 
with  each  number  of  the  Magazine. 
Advertisements  are  inserted  at  the  fol- 
lowing rates : 

One         Six        One 
Month.  Months.   Year. 

One  Page $20.00  #110.00  #200.00 

Half    "    12.00       66.00     120.00 

Quarter  Page...  7.00  38.50  70.00 
Eighth  *'  ...  4.00  22.00  40.00 
Cards,    6  lines 

orless 2.00       11.00       20.00 


The  attention  of  advertisers,  and 
those  having  galleries,  etc.,  lor  sale, 
is  called  to  our  Specialties  pages. 
Terms,  $2  for  six  lines,  and  25  cents  foi 
each  additional  line,  seven  words  to  a 
line,  always  in  advance.  Duplicate 
insertions,  50  cents  less,  each. 

We  have  added  an  Exchange  Column 
to  our  Magazine,  wherein  photogra- 
phers having  articles  for  exchange  can 
insert  advertisements  at  the  low  price 
of  15  cents  per  line,  or  fraction  of  a 
line,  of  seven  words  to  a  line. 

Operators  desiring  -.ituations  no 
charge. 


The  Lucidograph. 


In  this  instrument  are  combined  all  desirable  qualities  and  movements.  Improved  double- 
swing  rising  and  falling  front — our  patent  attachment  for  the  ground  glass  frame,  reversible  for 
Horizontal  or  Vertical  views.  It  is  made  of  best  quality  mahogany,  highly  polished.  The  Lens 
is  a  superior  quality  single  achromatic,  fitted  with  revolving  diaphragms  and  instantaneous  shutter. 
(Most  admirable  instantaneous  pictures  have  been  made  with  this  lens.)  The  Tripod  is  best 
quality  feather  weight.  When  folded,  everything  except  the  tripod  is  inclosed  in  the  case,  the 
plate  holder  being  left  beneath  the  ground  glass.  The  5x8  size  measuring  9  *^  x  6^  x  4^  inches, 
smaller  sizes  in  proportion.  To  sum  up,  this  instrument  is  the  product  of  the  best  skill  and  work- 
manship of  our  factory,  and  our  large  and  fine  facilities  have  enabled  us  to  fix  the  price  low,  believ- 
ing our  profits  will,  in  the  end,  be  equally  large,  and  our  usefulness  greater.  Prices  given  include 
everything  requisite  for  work  in  the  field,  extra  plate  and  plate  holders  excepted.  Especially 
designed  for  out-door  work. 


FOLDED    FOR   CARRYING. 


CPEtt 
TRIPOD    OPEN   AND    FOLDING. 


PRICE  LIST   LUCIDOGRAPH   COMPLETE, 

Wo.  1.  For  3%  x  4%:  Picture,  no  Sliding  Front „ $22  50 

»    2.    »    4%x5y2       »  »  «        22  50 

»      3.      »        5x8  »         Sliding  Front 27  00 

Circulars  describing  the  merits  of  each  of  the  above  articles  on  application  to 

THE  BLAIR  TOUROGRAPH  AND  DRY-PLATE  CO. 

OFFICE  AND    FACTORY, 

471,  475  &  All  Tremont  St.,  BOSTON. 


BLAIR  &  PRINCE,  148  W.  Fourth  St„  Cincinnati,  0. 

318  Broadway,  New  York, 

529  Commercial  St.,  San  Francisco,  Cal. 


Or  your  Stockdealer.  Where  stockdealer  does 
not  keep  our  goods  in  stock,  we  will  pay  freight 
charges  to  any  railroad  point  within  6oo  miles  of 
Boston  or  Cincinnati  on  orders  above  $50. 


OF  AGE! 


Twenty-one  rice   as   a    Photographic    Magazine 

having  jm  pie  ted   by    The    Philadelphia 

I*ho\  in  now  fully  claim  to  be 

OF  AGE." 

It  was  born  when  our  art  was  itself  only  a  stripling,  uuu  having  grown  up  with  it  and  lived  for 
it,  now  comes  with  confidence  to  the  craft  for  support  during  its  Twenty-second  year. 

Under  the  same  editorial  care  which  gave  it  birth  and  name,  it  will  continue  its  good  work  in 
the  interests  of  the  art  of  Photography,  with  brighter  prospects  of  usefulness  and  success  than  ever 
before.  In  looking  back  upon  its  past  record,  the  editor  and  publisher  thinks  he  has  won  the 
right  to  claim 

TWELVE  REASONS  WHY  "THE  PHILADELPHIA  PHOTOGRAPHER"  SHOULD  HAVE  THE 
PATRONAGE  OF  ALL  LOVERS  OF  OUR  ART,  AS  FOLLOWS : 

1.  The  photographic  studies  issued  with  each  number  are  a  great  help  to  workers  under  the 
skylight,  and  well  worth  the  price  asked  for  the  whole  magazine.  Over  forty  of  these  studies 
were  supplied  last  year,  and  some  fine  gems  are  preparing  for  1885. 

2.  The  editor  having  been  connected  with  the  art  for  over  one-half  of  its  existence,  is  wholly  in 
sympathy  with  the  working  craft,  and  well-knows  their  wants  to  supply  them. 

3.  Its  ability  to  anticipate  the  wants  of  the  craft  is  secured  by  its  connection  with  the  practical 
men  of  our  art  all  over  the  world;  and  the  same  long  connection  creates  a  ready  means  of 
obtaining  promptly  all  that  is  needed. 

4.  Its  enterprise  in  taking  up  and  making  popular  and  easy  all  good  processes  and  measures  is 
proverbial. 

5.  Its  war  upon  low  prices,  and  its  endeavors  to  lift  up  the  fraternity  to  better  ones,  as  well  as 
its  usefulness  in  winning  the  press  and  the  public  to  a  better  appreciation  of  our  art,  are  well  known 
to  all. 

6.  It  has  always  been  quick  in  discovering  and  exposing  frauds,  humbugs,  and  attempts  to  injure 
its  patrons.     It  is  operated  for  the  good  of  its  patrons. 

7.  Its  long  standing  as  an  authority  in  our  art,  has  won  it  connection  with  scientists  and  scientific 
bodies  all  over  the  world,  who  send  their  new  things  to  its  editor  first,  over  all  of  its  class. 

8.  Its  circulation  is  International.  There  is  not  a  land  where  English  is  read  that  it  does  not  go 
to.     It  also  circulates  in  every  State  in  the  Union,  about  as  follows : 

31.5  per  cent.  Western  States,      .  24.4:  per  cent. 

24.1         "  Canada,      ....       8.3  " 

16.4  "  Foreign,    ....       5.3  " 

Thus  giving  the  best  means  of  advertising,  and  thus  securing  the  best  circulation  among  the 
active  votaries  of  the  art. 

9.  Its  form  has  been  adopted  by  all  the  other  American  magazines  of  our  art  (all  its  junior), 
but  its  quality  and  artistic  appearance  have  not  been  reached  by  any. 

10.  Its  standing  as  the  leading  magazine  of  its  kind,  has  been  maintained  ever  since  it  began. 
"  It  is  the  best  of  its  class,"  say  press  and  patrons. 

11.  Its  success  has  been  a  success,  though  its  price  is  higher  than  that  of  any  of  its  con- 
temporaries. The  best  artists  often  write,  "  I  don't  care  how  many  other  journals  there  are,  or 
how  low-priced.  I  must  have  The  Philadelphia  Photographer." 

12.  It  is  the  cheapest  of  all,  because  "  the  best  is  always  the  cheapest."  You  cannot,  therefore, 
afford  to  do  without  it. 

SUBSCRIBE  NOW.     $5.00  a  year;  $250  for  six  month;  50  cts.  a  copy. 

It  has  been  our  custom  for  many  years,  to  give  old  subscribers  a  premium  for  new  subscriptions 
sent  in  addition  to  their  own.  We  continue  this  plan  by  offering  one  dollar's  worth  of  our 
publications  for  each  such  additional  subscriber  for  a  year.  Please  do  all  you  can  to  increase  our 
usefulness  in  behalf  of  the  glorious  art  of  photography.     It  is  to  your  interest  to  do  so. 

For  1885  we  have  some  useful  schemes  and  novelties  under  way,  which  will  be  presented 
from  time  to  time.  Our  old  subscribers  are  asked  to  renew  now  for  1885,  so  that  the 
January  issue  will  reach  promptly.     IT  "WILL  BE  A  GEM. 

Contributions  from  both  Actives  and  Amateurs  are  invited.  Proceedings  of  Societies  are  very 
useful  and  should  be  sent  promptly. 

EDWARD  L.  WILSON,  Editor,  Publisher,  and  Proprietor,  1125  Chestnut  St.,  Phila. 


New  England, 
Middle  States, 
Southern  States, 


NOTICE    TO    SUBSCRIBERS. 


In  remitting  by  mail,  a  post-office  or- 
der, or  draft,  payable  to  the  order  ol 
Edward  L.  Wilson,  is  preferable  to 
bank-notes.  Postage  stamps  of  the 
denomination  of  two  and  five  cents 
each  will  be  taken.  Clearly  give  your 
Post-Office,  County,  and  State. 

foreign  subscriptions  must  be  ac- 
inied  by  the  postage   in  addi- 


ADVERTISING  sheets  are  bound 
with  each  number  of  the  Magazine. 
Advertisements  are  inserted  at  the  fol- 
lowing rates : 

One         Stx         One 
Month.  Months.  Year. 

One  Page $20.00  $110.00  $200.00 

Half    "    12.00      66.00     120.00 

Quarter  Page...  7.00  38.50  70.00 
Eighth  "  ...  4.00  22.00  40.00 
Cards,    6  lines 

orless 2.00       11.00       20.00 


The  attention  of  advertisers,  and 
those  having  galleries,  etc.,  for  sale 
is  called  to  our  Specialties  pages 
Terms,  $2  for  six  lines,  and  25  cents  for 
each  additional  line,  seven  words  to  a 
line,  always  in  advance.  Duplicate 
insertions,  50  cents  less,  each. 

We  have  addedan  Exchange  Column 
to  our  Magazine,  wherein  photogra- 
phers having  articles  for  exchange  can 
insert  advertisements  at  the  low  price 
of  15  cents  per  line,  or  fraction  of  a 
line,  of  seven  words  to  a  line. 

Operators  desiring  situations,  no 
charge. 


TO  OUR 


Patrons  and  the  Fraternity. 


Gentlemen  : 

At  the  beginning  of  another  year  we  solicit  your  attention  to  our  claims  for 
your  patronage.  We  have  mastered  the  difficulties  of  a  trying  year,  and  while 
we  may  not  come  out  richer  in  pocket,  we  are  surely  many  per  cent,  richer  in 
experience,  and  in  that  respect  more  able  to  serve  you.  We  are  constantly  put- 
ting new  goods  on  the  market,  and  it  will  be  our  endeavor  to  give  you  the 
best  results  of  our  energy  and  thought ;  we  are  young  and  ambitious  to  be  con- 
sidered the  best  and  ever  progressive,  whether  we  are  capable  of  the  honor  or  not, 
we  must  leave  it  with  you  to  decide.  It  shall  be  our  aim  to  give  you  the  best 
goods  rather  than  the  cheapest ;  good  workmen  use  good  tools — for  these  we  wish 
to  cater.  We  do  not  publish  testimonials,  although  we  have  some  of  the  most 
flattering,  on  our  letter-files  (all  coming  unsolicited),  believing  that  intelligent 
men  tire  of  such  useless  literature,  especially  since  most  flowery  and  profuse  ones 
are  obtained  of  articles  devoid  of  merit,  for  the  good  and  the  bad  they  read  alike. 
Our  apparatus  factory  is  now,  we  believe,  one  of  the  largest  and  most  complete 
in  the  world,  the  machinery  being  new  and  made  especially  for  our  purpose. 

In  our  combination  with  Mr.  A.  Marshall  forming  the  Marshall  &  Blair  Co., 
we  believe  we  have  struck  the  key-note  to  a  plan  for  furnishing  photographers 
with  a  plate  which  will  equal  any  in  the  market.  While  our  facilities  enable  us 
to  place  them  on  the  market  at  a  modest  figure,  it  has  always  been  our  belief 
that  some  effort  should  be  made  to  furnish  photographers  with  a  reliable  plate  at 
a  small  margin  of  profit,  owing  to  the  quantity  used.  In  doing  this  we  believe 
the  best  interest  of  the  manufacturer,  dealer,  and  consumer  would  be  promoted. 
To  the  accomplishment  of  this  end  we  are  laboring,  and  trust  you  will  give  our 
plate  a  trial  and  be  convinced  we  are  worthy  of  our  encouragement.  In  wishing 
you  a  prosperous  New  Year,  we  would  ask  you  not  to  forget  us  or  fail  to  read  our 
advertisements;  they  will  appear  monthly  in  the  advertising  columns  of  this 
journal. 

Fraternally, 

The  Blair  Tourograph  and  D.  P.  Co., 

T.  H.  Blair,  Treas.  and  Manager. 
(SEE  PAGE  24.) 


r/l;\ri  %o  '      b 


(Oct.,  1886,  20,000) 


BOSTON   PUBLIC    LIBRARY. 


One  volume  allowed  at  a  time,  and  obtained  only  by  card ; 
to  be  kept  14  days  (or  seven  days  in  the  case  of  fiction  and 
juvenile  books  published  within  one'  year,)  without  fine;  not 
to  be  renewed;  to  be  reclaimed  by  messenger  after  21  days 
who  will  collect  20  cents  besides  fine  of  2  cents  a  day,  includ- 
ing Sundays  and  holidays;  not  to  be  lent  out  of  the  borrower's 
household,  and  not  to  be  transferred;  to  be  returned  at  this  Hall. 

Borrowers  finding  this  book  mutilated  or  unwarrantably 
defaced,  are  ejected  to  report  it ;  and  also  any  undue  delay 
in  the  delivery  of  books. 

***No  claim  can  be  established  because  of    the  failure  of  any 
notice,  to  or  from  the  Library,  through  the  mail. 


The  record  below  must  not  be  made  or  altered  by  borrower. 


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